D Ct Onary of Organ Stops Gngfisf Anb Cteign

T. TE RT N B I US O LE,

ORGANIS ‘I‘ AND MAS T ER OF T H E C HORIS T E R S, YORK “ INSTI I , THIS VOLUME 1s GRATE FU LLY D EDICATED

A C O MP RE H E N S IVE

DCTONARYOFORGANSTOPS

Gn fis f anb ct i n In cien t an b o n g } ﬁ e g , Q Qﬁ ber .

PRACTICAL HEORETICAL HISTORICAL E S H , T ; , T ETIC, MOLOGICAL PH NETIC ETY , O ,

A MES I N G A L L WE D GWO O D J ,

F. S . A S c a n ;

S OI S T I ME C HO IRMAS TE R A N D D I REC T O R O F T H E M US IC A T T HE C HURCH OF A LL S A IN TS ,

NO RT H S T RE E T , YO RK .

A UT HOR O F TONA L D ES IG N I N MO D ER N O RGA N B UILDXNG, “ C o . E TC

WIT H A FO R EWO RD

N I B U R G E S S F R A C S .

C OT P . S . A S . ,

' u N T K NS IN T N ORG AN IS T A ND C HOI RMAS T E R o r S T . c o w n s , OR H E G O , ' D IRECTOR o r T HE rm m s o n c A N D M E D I E VA L M US IC soc m Tv s c u o m , ' ' GE N ERA L sz c a xrmw 0 ? T H E c u v nc u C RArTs LEAGUE , T a re , E C .

P RI CE FI VE S H I LLIN GS , NE T.

LO NDON

EN M I OMPANY LIMI ED T HE VINC T U S C C , T ,

R W 60, BERNE RS ST EET. . D i In the ho e ca rria f th s o rk I hav e assu m e d un o m s e lf the fre e dom w l g e o w , t y o f a us his o rian n i n o thin out o f fe a r n o r s akin an hin for fa v o ur j t t ; co c e al ng g , pe g yt g ;

de liv e rin n o thin f r t i o u o od a u ori b d iv e in ha tru h as g g o a ruth w th t g th ty ; ut so e l r g , t t t ,

to i n e ss for m e tha I am n e ith e r b iasse d b lov o r ha re d no r o e rswa e d b w t , t y e t , v y y ” ar ia li a nd co rr p t ty upt affe c tion s .

“ EC C LE I R P n 1. S A ESTAU RATA, b y ETE R HEYLYN , D . D . , Lon do , 166 FO R EW O R D

WOR K o f i for i th s kind will hardly need any apolog y, its ut lity is sufﬁciently obvious to com m end it to all earnest students O f the k org an . There seems to be nothing in existence quite li e it, f f although it must o ten have happened that young players, con ronted by f a Of e — f o f some un amili r system st p nomenclature, have elt the need a

manual such as this . The art o f organ building has made enormous i i strides dur ng the past thirty years , and various bu lders have added vastly O f m to the resources the instrument, both as reg ards tone and echanism .

m i - f i In the eant me some stop names have allen nto comparative disuse,

i h i . while many more have been dev sed , and have met wit part al acceptance Although various attempts have been made from time to ti me to evolve an o f in universal system nomenclature, we are, at present, a somewhat i fo r i f chaot c state, even in our own country we are cont nually con ronted by the difﬁculties which o f necessity arise throug h stops o f a similar i n n character be ng called by more tha o e name, or (and this is more

puzzling still) stops o f varying effect being desig nated by the same term . It is the function o f this manual to make provision fo r this unsatisfactory

f ff d . state o a airs , rather than to attempt to reme y it From a long personal i f o f i friendsh p with the author, combined with a care ul study his writ ng s fo r o f I f I on organ matters in the musical press a number years , eel that shall be voicing the opinion o f many others i f I say that there is no one

more highly qualiﬁed to undertake a work o f this kind than b e . That

f i - E part o the book dealing w th stop names at present in vogue in ngland, is O f i the outcome many years study, combined with a pract cal acquaintance i o f ship with every important org an in the country . The section treat ng Continental nomenclature has been tested by the author in the course o f i B i his travels n France, Germany,Norway, Holland, elg um and Switzerland , o f Of and is, moreover, larg ely corroborated by one the greatest French o f o f t experts, while the inclusion the names and descriptions obsole e stops w ill be o f special value to those students o f old speciﬁcations who

may desire to realize what the organs o f the past were really like .

FR AN I B R E C S U G SS . F E P RE AC .

N projecting this work two courses appeared to me to be open to i i o f adoption . The ﬁrst, entail ng the r gid suppression all personal

O i i f a n d fe e pin on , at once commended tsel as the orthodox pre rabl o f i i fe w method compiling a D ct onary. But having tentatively composed a f it b sheets within the severe conﬁnes o this scheme, soon ecame evident that not only would such a mere collection of formidably a n d monotonously i i i i t techn cal deta ls be ent rely unacceptable to organ sts in g eneral, but hat, d o f i i d o f also, unless some means were a opted critic s ng the diverse mo es i k d i treating var ous stops, the boo would be hopelessly in eﬁn te in the n f i ature O ts information . I h f far have t ere ore selected the second course, and been so emboldened d k o f i s as to inclu e in the wor expressions personal opin on , and the result f f i o i i . o my own heur st c Observation It is, course, dist nctly to be under stood that the se personal opinions are in no sense pu t forward as ex ca t/zedrd w pronouncements, or as mere dog matic assertions to be s allowed, so to

k . spea , as a pill E d I i f ntirely unconnecte as am w th the organ building pro ession , and having acquainted myself with the work o f all the foremost English I a f f builders, h ve elt entirely at liberty to enlarge the description o variou s

b e a o f stops, and, there y, in no small measur to aug ment the g ener l utility f this work, by unusually copious re erences to organs in which they ﬁnd a f i place. That some names occur more requently in th s connection than

du e f o f i others is , mainly, to the act that they are those bu lders, the particular characteristics and the general modernity an d artistic merit Of whose work d d i have justly eman ed espec al notice or com ment . It is not possible to be i k o f I altog ether mpersonal in a wor this character . But have not been f o f f i O f w unmind ul the act that the poss ble success this ork must , in no d small measure, be ependent upon the degree o f impartiality instilled

into it . i d O f i it Hav ng a justed these matters pol ty, remains to review the

o f . g eneral scheme the work In the ﬁrst place, every effort has been f a n d i wi made to deal ully pract cally th modern stops . In occupying one f i i a t i sel so much w th details, one is , perhaps , at t mes , p to lose s g ht o f

i i . o f pr nc ples I have, neverthe less , attempted , out the chaotic state to v which the modern discoveries seem to ha e reduced org an tone, to P RE FAC E .

f fe w i Of rame a constructive pr nciples tonal design , and at any rate to i a o f i in ndic te the trend modern thought . There is but scant mer t d a f r f estructive criticism , s ve in so a as it opens the path to a more per ect f f and complete apprehension o undamental truth . These matters, however, — ’ are discussed more spe c ific ally and in a somewhat more d ég ag é style — than is here fittin g in a brief and informal brochure issued by the “ f a o D i present writer about a year and a hal g , and entitled Tonal es gn ” in i Modern Organ Build ng . a is fo r i i In the present book , lso, included the first t me a deta led

i - f o f i f . o descr ption the many tonal invent ons o Mr Hope Jones, some i fl i wh ch have largely in uenced modern org an bu lding . It is in the hope that organists and organ builders will cease to regard these latter as a ’ a bra m aa bm i i mere with wh ch to conj ure, and w ll grasp their inner i signiﬁcance , that they are here described with such deta l . My own ’ i a - —in f att tude tow rds Mr . Hope Jones work is deﬁned elsewhere a oot

n . 1 0 An o f i ote to p 4 . d here I would take the opportunity protest ng s i f of i ag ain t the habit , wh ch just now seems ashionable, endeavour ng to

disparage his organs in every possible manner. The Worcester Cathedral organ was recently described to me as the most noisy machine in the f d n county, by a man , who, as I a terwards iscovered, had been amo g the

in i i . first to describe it a published testimon al, as magn ficent This organ , ff f f t which su ers rom being badly placed , and rom being a pioneer instrumen , o f it f certainly has a tremendous reserve power, but does not there ore f i N O in stru ollow that th s reserve is constantly to be drawn upon . single m has o f i d ent, I suppose, recent years, more nfluenced the stan ard and

character o f voicing throughout the country than this one . The Hope i l iff i f ]ones organ , in ﬁne, s based on tonal ines vastly d er ng rom the if d i O f i conventional, and the stops be han led l ke those any ord nary x i instrument, can it be e pected that the result will be Otherw se than ? incongruous Certainly in accustomed hands, these instruments are pro iv f m i i duc t e o ff . the ost splendid e ects, consider ng their s ze It is not h f f i f conceivable t at any man can orm a air est mate, either g ood or bad, o ’ o f f m a f- a new system organ building rom , y be, a scratch hal hour s playing fo r k d i on one single instrument . I plead a little more nowle ge, and a l ttle

o f f o in io n iz in less this shallow and per unctory p g , which cannot be dig niﬁed f i i by the title o criticism . Having nspected in all some twenty nstruments

u H - I fo r b ilt on the ope Jones tonal system , am able to vouch the general An accuracy o f such descriptions . d the same policy has been adopted in f the case o other novel stops o f value . f Some surprise may possibly be elt, that, contrary to the accustomed -ln - precedent, I have not reiterated the staple stock trade arguments levelled

a é l a . a gainst C estes, Tremulants, and Vox Hum nas The reason, simple o n e is f fo r f i , , that I am honest enoug h to con ess (be it a matter con ess on v i P R E FACE .

at I a all) that , when used with due moderation , ﬁnd nothing objection ble ff in such e ects .

- f a Nor do I hold it at all essential to the well being o the org n , to l declaim against the so-called overg rown modern Swell organ , al eged

a d o f . orchestral imit tion, and the suppose deterioration modern org an tone

A i a i f , a cursory glance through organ l terature, reveals the stonish ng act th t fo r o f afﬁ a a upwards a century, organ tone has been rmed to be in r pid ' i f a decl ne . Maybe the edict will soon g o orth th t the Pan s Pipes or ' ’ ’ i f be a u zdea l o f an Theophilus primit ve metal pipes are, a ter all, the org i o f . f tone Thoug h it is, un ortunately , the case that, in the ord nary run

circumstances , one seldom meets with a church organ in all respects even

e ar - o f tolerable to a cultured , yet it is surely the work the most eminent modern artists which constitutes the standard in relation to whic h suc h is f a as judg ment ramed . Ag ain, let such stops, ncient and modern , can o f a be appraised on a common basis be compared, let the work F ther a an d I a Smith be contr sted with that o f Father Willis, venture to ssert “ ‘ i that the deterioration bogey will take refuge in precipitous ﬂ ght. O f The homag e the a ntiquary, however much one may sympathize with it,

must not be permitted to obscure th e faculty of sound j udg ment . It is possible to exaggerate reverence fo r old work until it degenerates in to a i i tyrann cal d sparagement of the new . f a an d It is , perhaps , peculiarly the act that musici ns , especially organists, fo r lack very much in the broad catholic spirit. Perchance it is very o f i a jealousy the sanctity o f the r Art. But no sooner does an org nist expres s his admiration for the solid German school o f organ music than

he forthwith proceeds to inveigh against the levity o f the French school. ’ The diatonic spirit o f Bach s works but serves to him as an incentive to f i tirade ag ainst the chromaticism o Spohr . Yet abolish chromatic sm, and i h — m w a —b f you sacr ﬁce t at, which apart fro its O n intrinsic v lue y very orce o f contrast conspires to enhance the dignity o f the diatonic style . Even “ ” o f f a f ff o f n so, by reason the r ilty of man , may the ancy e ects the orga i serve the more to display the breadth and sonority o f the un mitative stops, as the setting may heighten the lustre o f the jewel . Speaking with all due f i de erence, it is surely not merely unw se, but also unj ust, to ignore the

- claims to recog nition o f the vast school o f French organ playing . far ha s a o f a So as been pr cticable, scales aver ge measure have been m appended to the descriptions o f important stops . They are ainly f has intended o r the in formation o f amateurs . It never appeared to the writer desirable or seemly to attempt to teach the organ builder his own f i n i fo r pro ess on, nor can he too deﬁnitely point out to those respo s ble the compilation o f speciﬁcations the utter absurdity o f the seeming ly not uncommon sciolistic practice of copying out from some such work as this

the a i d . A certain scales , and o f then enjoining their use on org n bu l er part Vll PREFACE .

* from the facts th at a good builder may safely be trusted to know his iff i business , and that d erent bu lders are at their best when dealing severally i ff is f r a w th di erent scales , it not o one moment to be supposed th t the scales given in this volume are all O f a standard equally adapted fo r fﬁ i fo incorporation in any one org an . Provided he is su ciently well n rmed, “ " — a n organist is undoubtedly within his rights in designing an organ to the

‘ e xtent that with him rests the decision whether the Great organ is to contain H o hlﬂOte WaldﬂOte i f a or a or a Tib a , a Trumpet or a so t Tuba, the Swell a f — i o f Cornopean or an Oboe, and so orth but the dictator al imposition a i f rbitrary scaling s entirely outside his lawful province . The more care ully i these d stinctions are recog nized, the more ready will organ builders be i f O f to l sten to any suggestions . In the case O the various stops novel s i i n ff tructure ncluded this book, the matter rests on a somewhat di erent

basis . Here such particulars are given as may well serve as a g eneral i An . d g u de under Diapason I have commented on what, I am convinced , is i f a dist nct abuse o Scaling . d o f i o f In these ays progress , such books as th s are necessarily but

- ﬂeeting a n d short lived technical value . One invention presses hot u pon f f i o f fe w the ootsteps o its predecessor , w th the result that in the space a

o f i i f . years, the whole aspect any techn cal sc ence underg oes trans ormation i Even while this book was pass ng through the press, it was necessary o f d to insert descriptions various new stops , in or er to ensure the work

- ~ n I being absolutely up to date . For this reaso have striven to render the i i is o f . present book some historical interest In th s connect on , there one is O f point only requiring explanation, and that , that in the cases Obsolete r o f o Obsolescent stops, the recorded instances their employment have not f of necessarily re erence to organs still extant , though, course, where possible , existing instruments have been drawn upon . It was felt that in many cases some explanation o f the origin and i o f w o f mean ng the various stop names , ould be a source interest to i o f k f o f readers . In the prosecut on this tas , ree use has been made a “ f E ’ f Dictionary o tymology by the author s grand ather, the late

M A. w f i H e n sle i h . o Mr . g Wedgwood, , sometime Fello Chr st College, f i i v Cam bridg e . The act that th s D ctionary is based almost exclusi ely e fﬁ m o n the theory (then regarded as quit exceptional , and a r ed by him in i o f f f i O ppos tion to the contentions Pro essor Max Muller) , that the ormat on O f o i O f words is mainly to be attributed to a process onomatop e a, that the radical basis o f articulate sound is mainly imitative O f natural sound

”— urse the n u m e ro us e rr -b ui de s ob sc u e or n o o rio us—are e n i le d to Of c o , j y l r r t t t

a t n he ra n k ade be fo r a rt c o m m e c ia is m b e fo re e m ula io n . N o n o c o n side r io . T y tr e , r l t v d a in s i h m The re se n ab i m i s an e pe rso n will e v e r co nse n t to ha e e l g w th t e . p t n ab le m e itio n b e n de r a he r han s e e c io n ac co rdin to m e i has m uc h t sys te m o f c o p t y t , r t t l t g r t, o a n swe r fo r. viii PR EFACE.

will at once betoken the peculiar pertinency O f its use in co n nection i f w th the largely sonant origin o organ stop terminolog y . It is scarcely necessary to Observe that the stop nomenclature o f the middle ages draws ” - very largely upon what is commonly designated dog Latin . At the close o f the book is appended a brief Phonetic Pronouncing

Vocabulary o f Organ Stops for the convenience o f students . Though I have endeavoured to systematize the work as uni formly as i i o f poss ble, absolute cons stency treatment would in some cases have involved repetitions or extensions calculated to enlarg e the work to a

degree entirely incommensurate with the ensuing advantage . It was my original purpose to have prefaced this book with certain proleg om e n a treating Of the tonal development of the organ an d the “ ” ra tion a le f i i d m o voic ng, but the dea was discar ed upon y ﬁnding that i the i o f i i these subjects could best be dealt w th , to avo dance vain repet t on ,

in the body o f the work. i i A a It w ll, perhaps, be well to po nt out to merican and Continent l subscribers that the references to org an building i n their countries are

fo r i f i o f E i i a n d do n t intended solely the n ormat on ngl sh organ sts , o

pretend to be exhaustive. As dif o f r regards the general literary style, the ﬁculty presenting matte o f d w so technical a description in a rea able garb ill b e apparent to all .

A - i -f i i E i nglo Saxon pur sts , who resent the over ree ntroduction nto the ngl sh o f of i i f tong ue words French or g n , must per orce admit that in a work like i f m this one, deal ng ro cover to cover with one subject, constant use o f is f o f d such terms rom the very exigency the case unavoi able . O ne cannot be sang uine enoug h to hope that so lengthy a n d so

technical a treatise can have escaped error . I can only say that I shall at

. f f d fo r all times be grate ul to any o my rea ers corrections, or sugg ested i fo r di i n d mprovements , embo ment a secon edition , should such , perchance,

ever be in request . it d In conclusion , is a pleasant uty to tender my thanks to the k i subscribers to this wor , whose names are pr nted at the end thereof. I have also to acknowledge my indebtedness fo r much valuable in formation

f i i i d . o f to r ends too numerous to ment on n ividually The name Dr . Gabriel ' ’ ’ Red P ro e rse u r a re e ae P h s iol o ic o f art , / g g y g at the University Lille, demands, i o f d i however, special ment on as that a learne and pract cal org an expert, i d i i i o f b who has contr bute many nterest ng tems French organ uilding , f i An d . last, but not least , my r end Mr Francis Burg ess , who in additio n “ i e fo r f to the luc d Foreword is responsibl many use ul suggestions, d f k fo r i i comman s my heart elt than s hav ng , am dst the stress O f an unusually if f his i industrious l e, reely granted me most ass duous and invaluable a id f id k o f f in the rather orm able tas revising the proo sheets .

I. I . W.

t b r 1 0 . YO R K, Oc o e , 9 5 P RE FAC E TO T H E S E C O N D E D ITIO N .

HE remarkably cordial reception o f this work at the hands o f the o f - i Press and the organ lov ng public generally, has altogether

i . in surpassed my ant cipation It has , truth , revealed the existence o f a larg e and ever increasing body o f organists who are taking an active

o f 1n s ru and intellig ent interest in the tonal development their t m e n t. Such o f ff fo r f a state a airs assuredly augurs well uture prog ress . fo r In preparing this second edition the press, I meet a wish expressed that I should gather up in a fe w words the threads o f the several tonal if a f evolutionary tendencies man ested during the p st century . Re erences to tonal achievements illustrative o f the general trend o f my rem arks are prominent in the text o f this book ; I accordingly leave them largely out o f present consideration . We move in an ag e marked by much clash and transience o f opinion i f of i i as to what const tute the oundation principles organ bu ld ng . Small matter this warring o f beliefs fo r when was there brought to birth a Wonder child without the preceding travail and anguish But if in scrying beyond h o f f it the ep emeralities the moment one act emerges clearly, is that the has i i modern organ come to stay, hav ng won all but un versal acceptance . We have rounded the nadir point o f the period o f reaction which inevitably i f - f succeeds the ntroduction O any new product o human ingenuity . The

’ o f A ol o za it i i i modern organ no longer has need any p g , has v nd cated ts f clai m to be regarded as a step orward in progres s . If we review in broad outline the history o f the org an during the past f Dr A f R century the wonder ul century, as the venerable . l red ussel — Wallace has characterized it we shall find that the tonal progress achieved f may be relegated to three distinct streams o f influence . Two o these had h their source on t e Continent , the third represented the adaptation to organ buildin g o f those scientific methods which gradually permeated all f f O f th Dr. departments Of industrial li e during the latter hal e century . i o f l l for John Cam dg e, York , and Wil iam Hi l were responsible the first i f i i f in flux o f new ideas . From the var ous ore gn music ans who requented — the colossal pioneer Musical Festivals in York Minster abiding witness to — f the value of such institutions Dr . Camidg e learnt o the mag nificence o f P R E FAC E TO T H E S ECO N D EDITION .

the classical example s o f Continental organ building ; and in William Hill f O f he ound a man progressive ideas , who blended the newer methods with i fa r E d f d . the best tra itions o English org an bu l ing Thus , so as nglish i d i f o f organ build ng was concerne , were la d the oundations the new

o f E science tonal desig n . For the ﬁrst time, broadly speaking , the ng lish

: i o f i organ took shape scientiﬁc design , albe t a rud mentary character, i replaced chaot c empiricism . One has only to contrast the average E ng lish organ o f that period with the Continental instruments with their

d s u b u n iso n al f d i C compass , a equate pedal organ , oun ation and well bu lt ’ u rk o f Cam id e s p chorus and mutation wo , and then turn to the outcome g ’ and Hill s j oint labour in the shape o f the York and Birmingham Town r i i o f i in Hall o gans, to perce ve the great s g niﬁcance th s epoch the annals f o Eng lish org an building . E i i o f 1 8 1 The next step was heralded by the xhib t on 5 , promoted by the i E i i i Of d Prince Consort , at wh ch ngl sh builders ga ned the opportun ty stu ying i representative French and German org ans at ﬁrst hand . Henry W llis, the B r c e so n i b O f brothers y , an d others , ntroduced much that was valua le French w — i . fe methods In some respects , on the contrary part cularly as regards the practice o f slotting and the gradual disuse o f wood manual pipes ‘ the on te m e cordial /e with the builders across the Channel proved a verita ble

' an s at orz o m a /z f m ff o f i f g , ro the dire e ects wh ch we have but recently i fo r i reached the convalescent stag e . Fully compensat ng th s , however, i o f i i i d i came the introduct on str ng vo c ng , harmonic ﬂue and ree voic ng , and the French system o f reed voicing on the b asis o f which Willis reared — a n d developed his own unrivalled work thoug h the subsequent develop o f f ment this system belong s more properly to our third epoch o prog ress . ’ Edmund Schulze s Exhibition org an attracted so much attention that b e d i fo r f secure a comm ssion the larg e Doncaster organ , and therea ter for H is k E i several other instrum ents . wor inﬂuenced ng l sh voicing very d a n d altho u h ‘ fro m O f Vi consi erably, g our present day point ew seriously i f o f i it mper ect in many respects , both deta l and design , nevertheless remains a monument to his g enius and to the perfection o f the German i w fo r style , except onally note orthy its period i d o f i i i I i The th r g reat stream prog ress is assoc ated pr mar ly, cons der,

wi o f i R - - th the names Henry Will s and obert Hope Jones . The well known d o f i s i wor reproach , that a prophet not w thout honour save in his own o f o f i country, is true prophetic epochs equally as prophetic personal ties . Alive as I am to the tendency o f the fascination o f the hour to g lamour i i i one nto nvest ng contemporary events with undue importance , I shall not I seem extravagant, perhaps, when suggest that conceivably this third epoch will rank in the judgment o f posterity as considerably the most o f f i im portant the three, as the epoch raug ht w th the most decisive issues r so fa as the subsequ ent development o f the organ i s concerned . Its main P R E FACE TH E S ECO ND X 1 TO EDITION .

a a i i o f char cteristic is , as I h ve already i ndicated , the d rect applicat on i o f the scientiﬁc methods to organ bu lding, and, with that , the shaping organ to express the more adequately the musical requirements Of the ag e . The poin t is so constantly el aborated in the body o f this book that I a m i f o f i f s rel eved O all necessity emphasiz ng it here . Su ﬁce to say that perhap the main fruit o f this tonal harvest has been the developm ent O f the sus i f o f i f o f far ta ning oundational power the nstrument , the in usion greater

o f - an d u o f variety and wealth tone colour, the conseq ent better adaptation

' “ ” “ the organ to take what i s called a free part in the accompaniment f O vocal music . The study o f history subserves a purpose far more important than o f i i i that minister ng merely to our retrospective propens t es, and our i i b ' nterest in bygone t mes . It enables us to peer eyond the thing s o f the o f o f moment , and to apply the lessons the past to the problems the i i i f f . E present, to look orward nto the more mmed ate uture ven a super ﬁc ial study o f the tonal a n d mechanical evolution O f the org an reveals h o w curiously short- sighted has been much O f its treatment in the past o f i i witness the exagg erated cult M xture work, due to mechanical l mit

- Th ' n s atio n s o f the win d distributing machinery o f the organ . e te de n c ie f ci o f o f the . past century present to us a as nating study, the importance ff f o f if i which , as a ecting the uture the organ , it would be d ﬁcult ndeed to

- i i wh o over est mate . Sig ns are not lack ng that we have amongst us those

- are devoting to present day problems the same love and care which has . f characterized the pioneer workers O the century past . That their labours may be as richly rewarded will be the earnest hope o f all true lovers o f the organ . fe w i i i f Save fo r a necessary textual alterat ons, th s edit on o the f Dictionary Of Organ S tops corresponds airly closely with the original. i edit on .

. . W J 1 .

2 K ELFIELD R , GA DENS,

EN S I N GTON . NORTH K , W

Au u st 1 0 . g , 9 7

B I B L IO G RA P HY

T HE following books are referred to in the course Of this work — Adam s A. A D o f , compendious ictionary the Latin Tongue . Second E i E 1 dit on , dinburgh : 8 14 . — Adlun akob . Me c han ic a r n i 6 g, J Musica O g a oe d Berlin : 1 7 8 .

: 8 British Museum press mark 7 96aa a 3 1. Adlung was born at E f r urt in 1 699.

Allihn P a stor M x —Die r , a . Theorie und Praxis des O ge lb au e s . This is i f ’ an enlarged and modern zed edition o f Top er s celebrated work. f ’ o o f a . Allihn It treats exhaustively the theory sc ling, etc Pastor s k is o f e b boo one consid ra le value, although the chapters dealing with

- k f . action wor , especially, stand badly in need o revision — ’ ’ d ll D om n r i L Art do d r u s . Bédos e Ce e s , Je a F ango s . Facteur O g e — : 1 66 8 . 1 0 Paris 7 7 Bedos was born at Celles in 7 6, entered the

i 1 2 . 1 6 . Benedict ne Order at Toulouse in 7 , and died at St Maur in 779 i He was practically engag ed in organ build ng, and instruments containing some o f his handiwork still exist at Beziers and Dax

. D o m Be f Cathedrals, and elsewhere in France dos was a member o d A m o f f the Bor eaux cade y Sciences , and a Corresponding Member o f o f . o that Paris It was, indeed, at the request the latter body that k hi l D om he undertoo s monumental treatise on organ bui ding. is an

' i o f D om z n u s i o f abbrev ation , st ll the title monks at the present day . o wn S ir We ﬁnd , in our country, the cognate title, , accorded in m mediae val times to priests . See also Ha el — o h . 1 8 0 . . Ble wit, Jonas ( Organ Voluntaries London —Au sfiihrlic he B r Boxb urg, C. L. eschreibung der grossen neuen O gel in

itz 1 0 . z u o i . Oi l : der Kirche z u St . Petri und Pauli G rl tz G 7 4

: 1 8 2 . Bre wste r, Sir David. Letters on Natural Magic . London 3

r a . Burne y, D . Tour in Germany and the Netherl nds

8 . . : 1 8 Casson , Thom as . The Modern Organ Denbigh 3

’ - —E E é le s d r ue s Cavaillé Coll Aristide . O , tudes xp rimentales sur Tuyaux g , ’ e a L Ac a é m ie l Paris : 1 8 95. Mé moire pré sent d des Sciences e ’ 2 f 1 0 a l Ac adé m ie sa é 4 é vrier, 84 Note Lue des Sciences dans s ance

A - du 2 186 0 . e 3 janvier, ristide Cavaill Coll was the most celebrated

f . 1 8 1 o French organ builders He was born at Montpellier in 1 . In L P BIB IOGRA HY.

1 8 i i o f i f i 33 he went to Par s , but nnocent any intent on o remain ng t i f i f r there. Whilst a Par s he heard o a competit on o the building o f r i A o an organ fo the important Abbey Church o f St . Den s . lth ug h o f o f i but two days the appointed lease t me yet remained, he succeeded ' i i i a s h s . SO in lodging tender nteresting were the novelt es , such i i hi i . s harmonic pipes , div ded wind pressure, etc , ntroduced nto

i . i scheme , that he was selected to bu ld the org an This nstrument, the success o f which was largely due to his perspicacity in adopting ’ f f i Barker s pneumatic lever, ormed the oundat on on which he reared

— av a ill ~ ll d in 1 a wide spread reputation . C é C o ied 899. The name f o f Coll, which he a ﬁxed to his surname, was that his g randmother . — Ce ntur Dictionar The . b i y y, Pu lished by The T mes , London , and the i 1 k . i C O . E O f 8 1 . Century , New Yor d t on 9

l rk — i - C a e W H r i . , . o at o . Concern ng Organ Mixtures Hutchings Vo te y

C o . 1 8 . Organ , Boston 99 — E iston homas . i . i E i . 1 8 ll , T Organs and Tun ng Th rd dit on London 8 9 . A k i i practical handboo . nvaluable to all org an sts . — i R rh D e o hrﬂ t . A Ge ardt, Dr. Richard. O e Nova cta Academies C ae sa re ae

d - i a Ge rm a n ic ae ae u rio so ru m C : . Leopol ino Carol n e Natur Tom 4 7. (Verhandlung en der Kaiserlichen Le o po ldin is c h Ca ro lin isc h e n Ak f : 1 . Deutschen ademie der Natur orscher . Halle 885 A scientiﬁc

i a o f i f- d i invest g tion the phenomena connected w th hal stoppe p pes . i i 2 8 1. Br t sh Museum press mark : Ac . 7 - f i Gro e Si r Ge or e . o . E i i v , g Dictionary Music and Music ans First d t on . A i i London : 1 8 8 0 . new edit on o f th s ﬁne work is appearing in i i instal m ents ; its complet on s anticipated in 1 90 8 . — ’ Ham e Marie Pie rre . u du d Or u l , Nouveau Man el Complet Facteur g e s . k ’ Paris : 1 8 49. This wor is an abridged edition o f Dom Bedos

i u - - f d treat se, brought more p to date . It orme a portion o f the " — Encyclopé die R orer. M . Hamel ( 1 78 6 1 8 70 ) did much to perfe ct

free reeds . — Ham i ton . i o f . i i d l Catech sm the Organ Seventh ed tion , rev se by Joseph W d : 1 6 . arren . Lon on 8 5 — I—Ti Ha ne s Dr. L. G. o f . : 1 8 8 y , nts on the Purchase an Organ London 7 , — He lmholtz Prof . Dr. Di e To n e m ﬁn n , Lehre von den p du ge n als i fii r die i phys ologische Grundlag e Theor e der M usik. Brunswick

1863 . — Hill Arthur G. . o f Middle A s , The Organ Cases , etc , the . g e . London

1 8 . A 86 sumptuous work . — n Dr. . W. i . 1 0 Hinto , J Organ Construct on London : 9 0 . Catechism o f

n o n : 1 0 the Organ . LO d 9 . 5 — Ho kins Dr. E. J . an d im bault Dr. E. F. i a n p , , R , The Organ , its H story d E i i . . n : 1 8 . A Construction Third d t on Lo don 7 7 monumental work . BIBLIOGRAPHY X V

s Th — Lewi , omas C. A P rotest against the Modern Development of a T . : 18 . Unmusic l on—e London 97 Loche r P r Carl . Erklaru n , of g der Orgelregister, mit Vorschlagen z u a Re iste rm isc h n n B : 1 8 8 . wirks men g u g e . ern 7 An English transla

. : 1 888 . An i a . i tion London nteresting, though sm ll, work It s a it a s a o f E e . . r ther misle ding in tre tment nglish stops (thus g , Cornopean as is described a ﬂue stop) , and since its publication Germ an organ a r stops have l rgely alte ed . —A f a Matthe ws , John. Handbook o the Org n . Second edition . London

1 8 . i n 97 This is a very lucid and nteresting ha dbook. — ii l n Gr n d ic h . Moz art, Le opold. Versuch einer e Violin schule Augsberg

1 756 .

— - obe rts on F. E. A i a . : 1 8 R , Practical Treat se on Org n Building London 97. k r — r e l m ac h r Schlic , A nold. Spiegel der O g e und Organisten . Heidelberg

ci rca 1 1 1. R B i : 1 8 0. 5 epub—lished, erl n 7 imb a h Fr. Db e r E Schl c , G. C. die Struktur, rhaltung, Stimmung un d

Prii fu n . . . B . g der Orgel Third edition , revised by C F ecker Leipzig :

is . 1843 . This book rather scarce

Di . B : 1 8 . An Se ide l, J . J . e Orgel und ihr Bau reslau 34 interesting

i a i . book , but tee—ming w th in ccurac es Pr f. Ah E D n o f E . Ske at, Re v . o tymological ictio ary the nglish Language

London : 1 88 2 . nn — and Smith , He rma . Modern Organ Tuning, the How the Why.

Lo ndon : 1 03 . —9 l . U. Or e lhistorie . N : 1 1 . Sponse , J g urnberg 7 7 h nn G ttlob 1 1—1 8 0 a an Tiipfe r, Jo a o ( 79 7 ) wrote several tre tises on org H e ﬁ a ﬁ building. was the rst to reduce to scienti c basis the system

Allihn . of scaling pipes—. See m n otto. D ie i Ba u . Wange an , Orgel, hre Geschichte und ihr Third

: 1 8 . edition . Leipzig 95 ’ 1 Di a f E of D . o Webste r. Ne w nglish edition Webster s unabridged ction ry

81 . all the words in the English lang uage . Goodrich Porter — He nsle i h . A D o f En Et . an Wedgwood, g ictionary glish ymology With

: 18 . introduction on the origin of language. London 57 Third

1 8 . edition , 75 — me In alI. a D s r . We dgwood, J a s g Ton l e ign in Modern O gan Building 1 0 York and London : 9 4.

- : 1 6 8 . We rkme iste r A. Orgelprobe . Quedlinburg 9 Organum Gru , — : 1 0 . n in e n se re diviv u m . 7 4 5 g — , etc Quedlinburg 8 . Marin a B for A . : 18 7 I Wicks , Org n uilding mateurs London n this book appeared th—e direction s for making paper pipes . of the a . : 1 0 . Williams , C. F. Abdy. The Story Org n London 9 3 xv i T ABLE O F HARMONIC SERIES.

TA BL E HA RMO N IC S E R IE S .

b follo wing are the ton es g enerated y a vibrant string , or column

Of air conﬁned in an open orga n pipe

etc . , etc. ,

- 8 . Twenty second . -ﬁ Flat Twenty rst.

Ninetee nth or Larigot.

Seventeenth or Tierce. if F teenth . f Twel th .

2 . Octave .

i . 1 . d m Fun a ental , or pr me, tone

o f The ﬁrst these harmonics, the octave, is known also as the second

a u e r . p rtial, or ﬁrst pp partial

- A s to e d i e v iz . pp organ p pe g nerates only the odd numbered partials , ,

f w - r t F a ﬁ s . undamental , Twel th, Seventeenth, Fl t T enty , etc (But see

R footnote under BOU DON) .

DICTIONARY OF ORGAN STOPS .

A c o u s t i c B — i a s s Harmon c Bass ; Resultan t Bass ; als o .

n 1L T n i r ' f Gravissima (a ) ; Gravitone (4. ) o t u (a n ) ; co m prising also A u in tatii n 2 ft. 2 ra coustic Violone, and Q , 3 tone. 3 ft. tone , re ly 6 ft 4 . tone.

R ta B is a esul nt ass permissible synonym, but the use o f the term

” ‘ i - h x a li-5 harmonic is open to object on, owing to its well nig e clusive pp n i n a - i i of catio org n bu lding to a part cular method generating tone , as x i i e empl fied in the Harmon c Flute . T a a a ra he phenomenon variously known as result nt, combin tion l, vib tio nal a an d a i iff a , coustic (in l mited sense) d erenti l tones was discovered ci rca 1 1 an d by Tartini , 7 4, , subsequently, independently by Sorge in 1 740. It was first introduced into the organ by the Ab t Vogler ( 1 749 f f “ A B as a eature o his Simplification System . coustic asses are indeed

for 2 ft. a but sorry substitutes real 3 stops , and, contr ry to the worthy ' A é x a bb s e pect tions , have not ousted them ; nevertheless the Acoustic B as s forms an economical comprom ise availab le for instruments of no great pretensions . A resultant tone is an acoustical illusion produced by the periodic coincidence of particular vibrations emanating from two or more pipes (or othe r tone genera ting agents) . Such periodic synchronizations reinforce a an d f i i an d one nother, are there ore involuntar ly solated synthesized by a i i the c ar. They thus ppear as v brat ons produced by some in a o f dependent gent, the pitch the illusory note being determined by the i f frequency with which the synchronous vibrat ons occur. This requency

ar . If for a is dependent upon the interval sep ating the pipes , inst nce, the i a w ar interval amount to a major th rd, the result nt tone ill be he d arthe of o f if a f a pitch o f two octaves below that the lower two pipes ﬁ th, t one

a 1 6 ft. a m ft. u a octave. Thus pipe and Quint g when sim lt neously

a r o f 2 ft. . sounded , give rise to esultant tone 3 pitch

1 6 ft. o . A n the Let a represent the pipe, the Quint pipe dopti g t of 1 a w r 2 recognised scien iﬁc standard pitch, in second ill give ise to 3

ra s o a . R t vib tion , to 48 vibr tions educing this to the simples dimensions D ICTIONARY OF ORGAN STOPS .

1 — o f o f a 2 (by division by in 16 second the number vibrations will be ,

o f o who o f i i 2 . 3, the co ncident v brations 3 o f a In other words, every second vibration will occur simultaneously Of o i of with every third , and this synchronization w ll take place every a i i f n i second . Such co nc dent, and there ore acce tuated vibrat ons , occur

f 1 6 im then at the rate o per second , which is approx ately the rate at which

i o f 1 6 ft. the column o f air in a 3 2 ft. pipe vibrates . The assoc ation a pipe and a Quint pipe will accordingly give rise to a resultant tone o f

2 3 ft. pitch . R i o f esultant tones produced by nstruments sustained tone, such as i h O f the organ or harmonium , are more read ly perceptible than t ose per c ussiv i k i o f e nstruments li e the p ano . For in the latter class instrument the tone commences to dim inish i n intensity almost immediately after

percussion has taken place .

Attempts have been made to build u p 3 2 ft. tone o f g rea ter power and

i 1 6 ft. i distinctness than is usually obta ned with and Quint p pes only , by a W k r f m O f m i . a lc e o i ore extensive representation the har onic ser es , Ludw g s i burg, appears to have been the ﬁrst to make such an exper ment, and the earliest instance the author is ab le to trace i s at Ulm Munster H — U S A . 18 6 Other examples by this ﬁrm occur at Boston Music all, 57 3) k “ Votiv irche, Vienna In all these instances the Grand Bourdon

d o f i 1 6 ft. 1 0 f f t. 8 t. was compose Pr nci pal , ; Quint: § ; Octave ; Tierce,

- 6 ft. f A Ei i W t. t d i i § Super octave, 4 ns e eln Monastery, Sw tzerland ( e gle ,

1 8 6 . i 9 it extends only to Tierce In th s country, Mr . Casson ha s i i for i ff utilised Qu nt and T erce, an acoust c e ect , in the organ till recently f . . his k at Long wood House, Nayland Pro Carl Locher, in wor on organ Go ttsc hal f i ff stops, quotes g as testi y ng to the excellent e ect o f the com Th i bination at Vienna . e author s personally able to speak fo r a similarly

successful result at Ulm and Eins iedeln . Although the more complete represen tation o f the harmonic series is undoubtedly conducive to superior o f di i d it results, the cost the ad tional p pes ren ers as much worth while to i 2 ft. k i i procure an independent 3 stop, ta ng nto cons deration the greater

- i a n d ff i e o f i . A 2 f . util ty e ect v ness the latter reg ster Sub Bourdon , 3 t tone, i s more serviceable when viewed from all aspects 5 thoug h i t w ill be found that an Acoustic Bass is considerably more telling in f orte combinations o f f if than many instances the ormer, particularly the lower notes o f the S u b -B o f ourdon exhibit a due proportion ground tone . A i i o f i In the normal coust c Bass , compris ng two ranks p pes, there are d of various metho s dealing with the Quint . It may be an indepen dent o f 01 f 1 6 ft. st . set pipes , borrowed in quint pitch rom a e p In the latter m a k f case it y even be ta en rom the same stop as the 1 6 ft. rank em ployed - fo r d Sub bass , instance in eed, this is the course generally adopted in W org ans o f moderate size . hen employed alone the effect is not altogether T N R DIC IO ARY OF O GAN STOPS .

i artistic, because the Qu nt is as powerful as the prime note . Sometimes the i f B latter is der ved rom the Violon or the Major ass, and the Quint f - rom the Sub bass .

a The objection is sometimes raised, however, th t the independent i is o f f i Qu nt alone productive g ood results, as urn shing (unlike a stop i a u f . merely borrowed in quint p tch) pure, ntempered ﬁ th True, an i d i ff f r i fo r n ependent Qu nt is more e ective, both o th s reason and the greater facilities offered i n voicing it to suit the particular requirements it imposed, but in moderate sized organs is more costly than is really com

i o f ff d. mensurate w th the superiority the e ect obtaine Moreover, even granting that the independent Quint could be relied upon always to remain in f f per ect tune, the beats resulting rom the tempered interval at the pitch “ f is i i in question are slow, and the ﬁ th pract cally drawn nto tune by the prime note . An independent Quint should be voiced as dull and as free from o f f l i harmonics as practicable ; it should be air scale, with thick p, and i i preferably o f stopped pi es . It should also occu y a pos t on adjoining p p — 1 ft. if i b e f the 6 stop, and, poss ble, situated against a reﬂecting sur ace as,

- i indeed, should all dull toned pedal p pes . It is now customary to restrict the acoustical effect to the lowest octave

t 1 6 ft. i only, borrowing the Bourdon in octave position above hat p pe - i o f . . on centre CC the pedal board) This plan, ntroduced by Mr Casson , is adopted because in the upper range o f the com pass the a Oo u stic al effect f i is found in practical application to be unsatis actory n effect . The f difﬁculty is not conﬁned to the tempered Quint , and cannot there ore be

o f . is set down to the . score temperament The explanation probably , that as the pitch rises the harmon ics o f the pipes have to be reckoned with to a larger degree, and also that the resultant note approaches nearer to the

o f . more normal range hearing Thus, dealing with stopped i o f i pipes, the second upper partial ( t erce) C w ll sound and the ﬁrst (twelfth) o f the Quint note G will sound

h . Of These two harmonics are quarrelsome neig bours course, such dissonances are constantly occurring in notes harmon ically associated — th e f o f i in our musical system indeed, v requently impart a sense p quancy — to the combination but that is only a corroboration o f the contention that they exert on the ear a counter-in ﬂu e n c e which tends to detract from the power o f impression o f the resultant tone. The obvious remedy is to f i suppress the upper partials o p pes concerned in the production o f resultant tones as much as is practicable . f It was on account of this obtrusiveness o harmonics tha t Mr . Casson adopted the use o f the Q u in ta tOn 3 2 ft. tone . It is a stopped metal

i n o f 2 ft. i 1 6 ft. n pi pe, measuring perhaps , the case the 3 p pe ( actual le gth) ,

A o f 2 ft. i i . i n . so little as 9 in d ameter trace 3 tone is aud ble, but the 4 DICTIONARY OF ORGAN STOPS .

a f m 1 6 ft. an x ﬁrst h rmonic (twel th) co bined with stops, builds up e cellent tone in which the harmonics occu r in similar proportion to those o f a

a A . A ar Violone . Hence the altern tive name coustic Violone simil ly satisfactory result is obtained by allowing the twelfth o f a stopped wood

o f 2 t r f i . A H r pipe 3 f . tone to emain a rly prominent St lban, olbo n, by

- B B . Willis) . (See under SU OURDON) R oosevelt experimentally employed an acoustic effect fo r the lowest octave of some o f his Great organ - n o open Doubles . The true length pipes extended to te r i b C only, below wh ch note the stop was continued y t i dulLto ne d 8 f . wood pipes to wh ch were attached a " - monkey Quint (see HELPER) . The Quint pipe fﬁx 8 f i a t. a ts was perm nently a ed to the pipe, t king f ff wind from the same oot . The e ect is said to have f been most success ul . B ra the K a o Schulze, at remen Cathed l , and imb ll C .,

' at a . in s r a o f W shington Temple, US A , e te d Quint

in f . 2 1§ ft. pitch order to produce an acoustical 64 t - h s li tone . Hope Jones a accomp shed a similar result at Worcester Cathedral ( 18 96) and the Victoria R f i f ooms, Cli ton by coupl ng the 3 2 t. stop

i n f for a an d . ﬁ ths the lowest oct ve, above that borrow i ing it in octave pos tion 3 2 ft. pipe on centre CC sc “ ° f - o f . a a key pedal board) The org ns at the Colston H ll, i ?o usti e Do ub le . B an A Bristol (Norman eard) , d Selby bbey, Yorks

and i D r . ( Compton) , the monster org an des gned by . G A. Audsley for a i U S A x i the Convention Hall, Kans s C ty, , e hibited at the St . Lou s

E i n a i 6 f . xposition are also provided w th a coust cal 4 t stop. In ff s f a large organ the e ect might, perhaps , be u e ul, not so much in the

- lower as in the upper range o f the pedal board .

Acu tu A o f - Ac uta s sharp . Mixture composed high pitched

x . pipes . Sharp Mi ture l rz u Adle r Z u . Adle g eagle, g pu l A mechanical movemen t setting into motion the wing s o f a huge eagle and a a i i suspended over the organ ﬂying tow rds an rt ﬁc al sun . Garrison B a 1 2 a Church, erlin (Joachim W gner, 7 3 ) G rrison Church, Po tz dam 1 2 d n (Joachim Wag ner, 7 5) (still preserve ) Belgard , Hinterla d o f Pomerania

(still preserved) .

—E l ic o n E o l i n e ia E o od E . 8 ft. rar 1 6 ft ol n Harp olian ; ely . ; f 4 ft. 2 t. D f [E a af E erived rom the oli n Harp, named ter olus, the mythical god

- o f w . The ZEo lian H a o f a ind rp consists sounding board, across which DICTIONARY OF ORGAN STOPS . 5 are f a stretched about a dozen catgut strings . When astened in window o r i n o f r other s tuation exposed to a curre t air, the inst ument emits

' f f f 1 f a n d . a o 6 t. mysterious beauti ul tones Formerly, in Germany, so t reed f 8 t. m e or pitch , rese bling in tone a soft Oboe . The pipes had b lls on the i b e ax top, and the tongues were th n and narrow. Merse urg Cath dral , S ony

1 8 i lav ae o lin e . R (Ladeg ast, 5 Somet mes equivalent to C Fulda ( atz

. i f mann) Now in Germany, and invar ably in this country, either a so t E D a l st cho Gamba, or a stringy ulcian , with which the Ce e e sometimes

. Mii n st r W l k R e a c e r . beats Ulm ( , rebuilt St John , Wilton oad,

E . London (Lewis) ; Long aton Parish Church, Notts ( Brindley Foster) f r The last named ﬁrm usually employ a stopped wood bass o this register, s k E ometimes g rooving it to the Swell Gedac t. The CC pipe o f an oline f o a in . verage scale would measure about 3% in diameter . — E q ua l A term anciently employed in Germany to desig nate unison

- - 8 ft. . e . . ZE ual [E u pitch g , q Gemshorn q al Principal.

Ag g e s E qual .

Am r A . Am o ro s o o love . Flauto mabile

’ — i A r u = r A N C H E S French equ valent to our reeds . nche d o g e e e d E stop o f an org an . See J U . — An g e lic a See Vox ANGELICA . — Ap fe l R e g a l See R EGAL .

Arm o n ic a Harmonic .

—A o f i a s As s a t corruption Nasat, somet mes occurring in ncient peciﬁcations . — r A A . . A Aus las e uslosung ; usschaltung (Ger ) uslosen to redeem, to

An n i o ff . free . schalte to sw tch “ ” A h i o f - neg ative touc annulling the act on non indicating pistons ,

- - f t e s k . a n d restoring that o h stop knobs, or top eys — . . R i in i m . Av ic u Canary, Nig htingale Oiseau ( Fr bird) ; oss gnol (Fr Vo l nighting ale) Vogelgesang ( Ger. bird song) g e g e sc hre i

(Ger . bird cry) Merula (Lat . blackbird) . A fe w odd pipes bent down into water and so caused to emit a “ ” i f i o . s plutter ng noise (Hill, Organ Cases ) or twitter in im tation birds A si m ilar device is still employed in toy symphonies and by fowlers an d bird Cari ra n a tamers . St . Sulpice, Paris ; Constance Cathedral ; g Church,

d . a . At Genoa ; Magdeburg Cathedr l ; St Catherine, Mag eburg the a R r Monastic Church, Weing rten , near avensburg (Gabler, the autho

. R v . r found still extant both Cuckoo and Nig htingale The e G . H . Palme once informed hi m that there was (and perhaps is still) a stop labelled “ " Canary on each manual o f the organ in the cathedra l at the Canary Islands ! 6 D ICTION AR Y o r ORGAN sro ps.

B .

Baj e te Bassette.

A f at . 4 t. pedal ﬂue stop ( Seville Cathedral)

Baj o Bass .

Ba . 1 6 ft. 8 ft. B AJ O N C I L L O ( B a x o n c i l l o ) (Sp. ) ssoon ; ; a f r rely 4 t.

’ The stop is known to be equivalent to Open Diapason ( Hamilton s i Catechism o f the However this may have been , the Span sh a f D a a equiv lent o iapason, at the present day , is Fl ut do Principal, and

B a o n c illo Ba x n c illo B . Ca . j , or o , is restricted to assoon Seville thedral

A Am z ( quilino é ua,

B A R — See BEARD.

B n — a rdu e A corruption of B ourdon . — - Mu sic ir e dackt . e f 8 ft. A B a re m r6 t. quiet toned Gedackt g ) Som H ofor e 8 ft. l B r f ife . times equivalent to a p e Stadtorgel, Jena, ; g ,

E a 1 6 ft. isenb ch,

— - f f . if D Baa . . B a rpfe e ( utch) r pyp. (Ger ) Bar bear P ei e pipe

8 ft.

r A reed stop o f smothe red g owling tone, introduced X VIth o f into the organ in the Century, in imitation the f f o . growl the bear The pipes were made in various orms,

but always with the object o f smothering the tone . The pattern which seems to have been most used is shown in

. f the ﬁgure Sometimes, however, it was urther surmounted a n d c by other cylindrical conical tubes . It was also o c asion ally made as a cylindrical covered pipe with a small

chimney rising from the lid. Commenting on the lack o f

i o f o f c hlim b a c h appropr ateness some the ancient registers, S remarks that perhaps the g rowling o f the bear was as pro i A pitious to the De ty as the Vox ngelica . Werkmeister records that the Barpfe ife was sometimes dubbed Vox — Humana truly a questionable enough compliment to the — H S r. i . . . human voice. amburg N cho—las, St Jacobi, St Catherine, St Peter, m a an d k i f 1 1 3 St . Tho s Cathedral ; Lubec Mar enkirche ( ormer organ, 5 ) — n d St. a . . a n d St . Peter Luneberg Johannis St Lambert

’ w ’ rr . w i a 16 ft. B A R Y P H O N ﬁ p g heavy ¢ 1 vo ce.

m a i A free reed st0p with Tru pet bodies, used occasion lly in Sw ss org ans b f o x . and frequently in Orchestrions y Welte, Freiburg, in Sa ony)

8 o r r DICTIONARY ORGAN s o rs .

— D B . r . a s s o o n Fagotto ( F . ) Basson (Ger ) Faggot ; ( utch) = h u a u s b e e c . Baz in . Fag ott is derived from ( Lat ) F g tree The orchestral instrument is said to bear this name f i o f rom its resemblance, when in p eces , to a bundle f i aggots . What is probably a more cred ble theory is, that it received the name owing to the employment o f a beech

f ba s — n I t. B asso n e is a o s o a tong ue , ( ) an ugmentation

1 f . 8 ft. instrument o f a very low note. 6 t ; ; abroad

(rarely) 4 ft.

f o f 8 ft. x The stop is not ound in this country pitch , e cept

A . sometimes as a bass to the Oboe, Cor nglais or Clarinet The name Fag otto is usually reserved fo r a non-im itative reed o f

subdued tone . Thus Contra Fagotto is generally a quiet Double o f i i f Trumpet sl g htly rasp ng tone, rather than a Bassoon , and o ten

16 ft. f has pipes open at the top . The octave is very requently

f - f f ormed o f half length pipes . The pipes o the Bassoon are o metal (abroad very occasionally o f wood) o f inverted conical

. is . shape The scale small, and the tongues are narrow The i pipes are sometimes capped at the top. The tone s slig htly

u . nasal, and somewhat hollow and piq ant In Germany the is f f i Bassoon o ten a ree reed, and somet mes even possesses f f cylindrical bodies . The Contra Fagotto orms an excelle nt so t double reed fo r the Swell the Bassoon combines effectively with

Solo Harmonic Flutes. The orchestral instrument, owing to its

- d the . conical bore, pro uces both odd and even numbered partials o f i o f Speaking the Bassoon , the author enjoys the acqua ntance a i sexton , a very worthy and est mable man , who is wont to launch “ out into paneg yrics over the tone o f them beautiful Basuto ’ ” B f pipes i n t ould argin . The averag e assoon scale varies ro m

2 . in 8 ft. f . . for 1 6 ft. . 5in to 3 . , CC , and rom 4 in to 5 in the pipe

fi r i t. fl o P a u e rfio te R u e str s La . Ba u e r te , Tibia ( rustic pipe)

f . f . 2 ft. 1 f . (Ger. ) Bauer peasant . 8 t ; 4 t ; ; t Usually

d o f 2 ft. 1 ft. . Ba ssoo n . a pe al stop or pitch

' The B a u e rﬂote was composed o f stopped wooden pipes i o f small scale, sometimes w th chimneyed stoppers . The tone was

bright and clear . The stop was much used on the Pedal organ , i especially fo r g iving out the melody o f chorales . It was somet mes - A i i r ri . A . P mto u known as Choral Basset ccording to Mr bdy W ll ams, s o f this says that the Germans thoug ht a g reat deal stop, but the Italians “ ” i b . . i desp sed such small ass stops as mere empty octaves St Jacob ,

Ab t i . . o i Hamburg ( Schn ttker) ; St Dominico, Prag ue ; St Peter, G rl tz i 1 ( Gaspar ni, DICTIONARY OF ORGAN STOPS . 9

B —Bar i e a r d B R . , ridge, Fre n Harmonique oller A mechanical appliance frequently attached to the mouths o f small-scaled t “ m flue pipes o assist their speech . The word beard is the generic ter “ fo r o f o f or a host varieties, which the principal types are the bridge “ ” “ “ ' re an lza rm om i a o r bar, the roller and the f g u e . The br dge is flat — shaped piece o f wood fixed across the mouth o f the pipe so m etimes ” o f - o r attached to the underside the ears, and then known as box beard “ ” ” f - i f b o x c . s o ender, or the device as ared The roller a round piece w in of s ood fixed between the ears . It is attached to them by means pin o f i or by the process punching the ears nto the roller. Occasionally are o f - fo r i rollers made brass or phosphor bronze , and small p pes some i capable voicers use alum nium in preference to wood . For illustration see

' ’ re zn ﬁa rm om u e is SALICIONAL. The f g a metal roller or ﬂat beard attached n to a spri g, soldered on to a metal pipe or screwed on to

It . was a wooden one . invented by Charles Lemaire , a of Zi - o f voicer in the employ mmermann , the pipe maker Gav ioli e t o f Paris , and was brought out by Cie the same w city, the ell known orchestrion makers . The claim to

superiority is based on the fact of its adj ustability . But it is altogether questionable whether this feature is i desirable, as the del cate adjustment is very liable to

accidental derang ement by a hurried or careless tuner . The only examples in this country with which the author D R i is acquainted are at erby oad Chapel , Nott ngham

o n ac h e r . d m . B u t (C ) , and St Mary, Westwoo (Co pton) ' frequently the name f re zn is indiscriminately applied to

other varieties o f ﬁxed beard . As early as 18 78 a removal brass roller was invented

- - - o f f o n . E o c by Herr Sauer, Frank urt the Oder xcept ll o f c asio n a y in the case large pedal pipes, the roller, on account o f the superior results and greater facilities fo r i ff manipulation and del cate adjustment it o ers, has almost

entirely superseded the bridge. Some German builders i - of an d Messrs . Walker employ a p ano concave variety beard presenting a broad surface concave to the mouth f o f the pipe. Whether improved or acilitated results are

thereby obtained the author cannot say . It «is generally supposed that bars were introduced

w . into this country by Schulze, and rollers by Le is It is,

o f a a D therefore, interest to note that be rded ulciana by ’ S n e tz le r All a , . exists at Saints Church , P vement York Fre in H arm on ique B ad us a The Sn e tz le r D ulciana at everley Minster is also bearded , ( j t ble ) . a a but in this case the beards are prob bly later addition . I O DICTIONARY OF ORGAN STOPS .

Th e o f far n action the beard has not, so as the author is aware, bee e xplained in any English published treatise ; he may therefore draw a f le— ttention to the act that it was demonstrated by Cavail Coll, as early " 1 8 i i r i f o f 0 n h s E Ex é i i i e n tale s . as 4 , tudes p The unction the bridge or roller is to intercept and check the indraught o f air induced by the rapid

ﬂ o w f - i o wind through the ﬂue or wind way and u p to the upper l p. This i ndraught o f wind may easily be detected with a lighted cigarette or smoking

t . of . I t aper By thus checking this , the amplitude vibration is increased o f - the fing er be held so as partly to cover the nozzle a hose pipe, the stream o f water issuing therefrom will be deflected and describe an arc — i i — or curve . Similarly to cont nue the rough illustrat on the wind as it f of f f emerg es rom the flue the pipe curls away rom the rein , but by the return swing o f the vibration it is caused to curl rou n d the frein to a corresponding deg ree . “ o f i i The use beards has ent rely revolutionized str ng tone voicing . Previous to their adoption the use o f small -scaled flue pipes with low m o n ths i n the production o f keen string tone had been unsatisfactory “ o n o f f o f i account the disagreeable de ect speech known as spitt ng , in the process o f which the pipes sound a harmonic before the ef i in g round tone, a d ect wh ch , moreover, can only some measure be

' avoided by the equally serious one o f causing the pipe to be slightly o f hesitating i n its speech . The application a beard to a pipe which has overblown into its octave will at once restore the g round tone hence

“ " b o rh spitting and sluggishness o f s peech can be remedied by this o f i i means . For an instance extreme scal ng rendered poss ble by the use ’ o f b eards see VIOLE D OR C H ESTR E . i f f It is qu te a allacy to suppose that bearding, apart rom details o f

s k i n . d d caling , renders a pipe een tone Dulcianas may be bear e without i i i o f n i i their d st nctive qual ty to e being to the least deg ree mpa red . In

- b d f be for o f other words , ear s may reely em ployed the purpose securing ~ i f r prom ptitude o f speech . The prec se reason o the cavilling statements i i i o f d i somet mes d rected at the pract ce bear ing p pes would seem obscure .

“ " " i i o f - The add t on side beards , as ears are named in Germany, is not d o f i d it regarde as a needless distortion the p pe, nor woul appear con i ble d i c e v a that a bearde Violone, possess ng as it does excellent blending bod o f d f property and am ple y tone, coul be excluded rom the categ ory o f

- legitimate organ tone , whatever that somewhat hard driven catchword

i on - may be held to comprise . Comment ng the rather fatuous cuc koo cry “ o f i i e o f use the word leg it mate, one nv ntor ing enious organ mechanism, i in a letter to the author, expressed his conviction that when it was or g inally proposed to substitute fo r the h uman lung s bellows to blow the primitive i f organ , the change must have met with opposit on rom the authorities ” o f the day as not legitimate . l l DICTIONARY OF ORGAN STOPS . — B e l l An i fﬁx o f inverted truncated cone, somet mes a ed to the top i organ p pes . See B ELL DIAPASON BELL GAMBA .

B E L L D A P A S — - I O N Flute a Pavillon bell. A Diapason pipe surmounted by a bell o f

inverted conical shape . It was ﬁrst introduced into this country in the organ by D u c roqu e t o f 1 8 1 i Paris at the 5 Exhibition . The tone be ng f a n d ull rich, the stop rapidly became a great f avourite, but, like the Bell Gamba has wf i i n o allen into d suse. It was extens vely used w . H a lm sha by Messrs Beving ton and Messrs . ,

o f B . f irming ham John Courcelle, who a terwards became a famous reed voicer (the ﬁrm is now Palmer voiced Bell Diapasons o f g reat i excellence . He, or some adm rer, named the C o u rc e llin a i o f stop , in considerat on his aecom

h . lis m e n ts . B p (as at St John , Portsea) rompton

Oratory ( Bishop) .

E L A A - G M B . B L Glocken Gam b a (Ger . )

8 ft. 1 6 f . Glocke bell . ; rarely t A larg e scaled Gamba pipe sur m o unted by “ ” a bell . The latter appendag e would seem to have the effect o f imparting to the tone a more

reedy or pungent character, acting as a speaking

trump et or Megaphone . The pipes themselves i n are cylindrical shape . The pattern o f Viola

- m i . i i da Ga ba, nvented by Mr W lliam H ll, and m i for erly extensively used, s a tapering Gems i i horn pipe w th a bell on the top. It emits r ch o f and reedy tones great reﬁnement, at times even resembling a Cor Anglais in the lower i portion of the compass . Flue pipes w th bells in are now this country practically obsolete, on account o f the difﬁculties attendant on their

tuning and regulation . The pipes and bells were usually cut approximately to the correct f r length , and the stop provided with long ears o B u t o f tun ing purposes . this process shading Be ll Ga m ba f l the mouth was often liable seriously to im pini l!) pair the “ regulation strength and quality

of the i . in f t r o f tone) p pes Nevertheless, many instances, satis ac o y i results were empirically arrived at, and th s objection has in time 1 2 DICTIONARY OF ORGAN STOPS .

fo r of past been somewhat exaggerated . The main reason the disuse stops requiring to be tuned by means o f the ears was the difﬁculty e n countered ih getting at the latter . Sandwiched in between other stops , o n a - it m an i u possibly crowded sound board, will be seen that delicate p a lation was a matter o f no inconsidera ble awkwardness . Under the s me category as the B ell Gamba and Bell Diapason falls the old-fashioned type o f R o hrﬂOte and such Harmonic Flutes as are provided with long fo r ears tuning purposes . The author, personally, would be the last to a i disp rage keen string Gambas, bel eving them to be amongst the most

if a f . is beaut ul and v luable o modern achievements in voicing There , o f albeit, no valid reason why they should be cultivated to the exclusion

v C . other arieties, and be duplicated on both Swell and hoir organs It is much to be desired that some attempt be made to reproduce the beautiful

-f - - Old ashioned Viola di Gamba tone from a pipe o f more practical form .

' - A 1 6 ft. k Glocken Gamba occurs on the Pedal at Grace Church, New Yor R ( oosevelt, — B e lls . See CAMPANA, CARILLONS

- - i R R . B i b le Re g a I B bel egal. See EGAL

— = ~ Bifra B iffra i if P iffaro . a . Bifariu s tw B ifa ra , , T bia B ara, (L te Lat ) o ' ” iffa ro i . P ﬂ wayed, double is an onomatopoeia suggested by the p

- 8 ft. ft. or lip tone o f the orchestral Flute. 4 The description o f the Bifara g iven in ancient organ literature ha s

puzzled modern writers not a little . It is said to have been a wooden

- i i r double mouthed p pe, with the block so set that one mouth was h ghe i i than the other, and w th the bore so small as to adm t but a limited supply i As Of i o f w nd . the result these peculiar ties a pleasant undulation , rather o f i f m lig hter than that the Unda Maris, is said to have been obta ned ro W n z la u s Wal rh u n i . e e s te a se the one p pe . St , Naumberg Seide l,

commenting on the latter example, remarks that though he had several Wal te rha u se n times played on the organ at , he had never had any such If ff ll d effect brought to his notice . the e ect occurred at a it coul only have “ ” “ ” o f o f . S o n se l in his Or e lhistorie been a sort wobbling the tone But p , g , “ 10 f i k : i s f an d (p. 5) utters the ollow ng remar s It the quietest , so test

i . o f i u most charming reg ster conceivable The pipes are Prinz pal scale, b t

the feet are plugged, having only a very small opening bored through them . i Two O f these pipes are apport oned to each key, but so tuned as to be

i c an slightly discordant to each other and give rise to an undulat on . It

only be carried through the two upper octaves . In the two lower ones it O is represented by a quiet Flute, so that , when the rg an possesses but one

manual , the stop can be played throughout the compass . It can only be d of for played on very slowly, and serves instea the Tremulant conveying DICTIONARY OF ORGAN STOPS . 1 3

” the ff o f f a f was e ect grie . This statement, eman ting rom a writer who the o f B Do m Be f contemporary the learned enedictine, dos, should su ﬁce to f r account o the tradition that the B ifara wa s a stop o f und ulating tone . B f f In Germany, the name i ara is still occasionally ound applied to the D o e lﬂOte h f -am - a Walc ke r pp (Paulskirc e, Frank urt M in , , Under the Bifra Walc ke r of i two a — name , , Ludw gsburg, has used pipes to note the

o f 8 ft. o f ft. o f lower ( pitch) stopped , and the upper ( 4 pitch) open and i sl g htly stringy tone and small scale. With separate Tremulant at Boston 1 8 Ri 1 88 f Music Hall ( 57 ga Cathedral ( 3) Paulskirche, Frank urt

1 8 8 . te he n sdo m As Piﬂaro o ( 3) St S p , Vienna this ﬁrm has als i f 8 f . 2 ft. R used a similar arrangement o t and pipes at ga, Vienna and

. At ft. 2 ft. Ulm Boston , 4 and — l kfl B ckflo t Plo c kflo te . B o c o te Corrupted to o e or Tibia Vulgaris (Lat.

An B kﬂ 1 6 ft. f l ia l o c u te . 8 t. ft. 2 ft. Common Flute) . g , 4

Father Smith used the term , as did also his contemporary German f i builders , to designate a huge Fi teenth several scales larg er (proport on Bl c kﬂOt i f ately) than the D iapason . The o e was somet mes composed o

o f . i a of stopped pipes, at other conical pipes Or g in lly imitative the

- - Flaut a hecq .

—A a f a o f B lo we r signal to th t worthy unction ry by means bell, clapper

or whistle .

B o c k-S c hwe b u ng Bock is sometimes loosely employed for

- Z h e . iegenbock goat) The verb bocken signiﬁes to buckj ump .

Schwebung Tremulant . B ock-Schwebung was the term employed to describe a Tremulant of

re late ' sim l inordinately powerful beat . The derivation may p y to the jumping o f the apparatus or to its resemblance in effect to the wavering of ’ a goat s bleat . — An i . B m h m ﬂ o te Boe hm isc he ﬂote . ord nary Flauto Traverso

f f o f th Named a ter Theodore Boehm , who invented a new orm e

2 B a Orc hestra l Flute in 1 83 . Not ohemi n Flute, as has erroneously been

advanced .

— B -B -B B o m b a r d e Bombardon . ass ommer ; Bass rummer ; Bass for - for P, ommer (Pommer is old name Oboe, and Bass Pommer f ft. 1 6 ft. 1 6 t. a f a 2 8 t. Bassoon) . Ped l 3 Manual ; occ sionally

m ft. Very rarely abroad as pedal 8 ft. anual 4 “ ” As D r. . . Synonymous with our word bombard. J W Hinton has a not inaptly observed, the term appears to h ve been successively applied for n was to that organ stop or instrument, which, the time bei g, capable of i the most imposin g and thrilling effect . The or ginal derivation is onoma I 4 DICTIONARY OF ORGAN STOPS.

to oe ic . . B i o f o r a t p (Lat ) ombus signiﬁed the buzz ng bees , the hoarse bl s o f a trumpet (Ger. ) Brummen to growl or mutter. Formerly a stop i a B f m dw y in power between Trombone and assoon , o ten capped at the

- to p. The name is now generally applied to a very smooth and deep toned

f 1 6 ft. f . o Trombone o some intensity There is a very ﬁne example pitch, H - playable in chords , on the Solo organ at Worcester Cathedral ( ope Jones) ,

f . o f 16 ft. 2 t at and another wood , and 3 extension York Minster (Walker) , f labelled Trombone . Free reeds have O ten been employed abroad .

2 ft. z Concert Hall, Cincinnati , 3 ( Hook Hastings) . Schul e used them

2 . 1 f . at Doncaster in 3 ft and 6 t pitch .

—B r n lﬂ P R T N B o rdu n a I o du a Ote . See O U AL .

—A - i B o tz e small scaled reed occurr ng at Stralsund. — B o uc hé (Fr . ) stopped .

B o u r d o n Bordun . For Grand Bourdon see under ’ A 2 1 Fr. B r ff. ( ) coustic Bass, ( ) Grand . ( ) ou don pilgrim s sta ff B . f (Provencal) ordo sta or crutch Hence, rom the resemblance o f i o f i ff the drone p pe the bagp pes to a sta , (Fr ) Bourdon the

o f o f . A E n droning a bagpipe or buzzing bees kin to ( g ) burden, “ f ” as in the burden o the song . B u t possibly onomatopoeic in

. h i a orig in (Gaelic) Burda humming, the mit tive character o f “ ” is of which supported by the use durdan in the same sense .

B E n . b (Breton) ouda buzz or murmur, akin to (Old g ) bur le, and “ E n . S e e He n sle i h E ( g ) bubble g Wedgwood, tymological Diction “ B A a ary, and also ombarde . medi eval Latin name was Tubae ae n e ae calami majores o rgan o ru m In Germany a manual stop o f

f . f 1 6 t 8 t. o f 8 ft. . , , and pedal tone In France a manual stop of

6 ft 8 ft. 8 f . 1 f t . . o E , , and pedal tone In ngland a manual or pedal

o f 1 6 ft. . 1 6 ft. ci rca stop tone only Invented ( ) in Holland 1 508 .

- 1 6 ft. The term Sub bass is more correctly applied to the pedal stop . It would be a plan worthy o f adoption in this country to reser v e the name Bourdon fo r the manual or fo r a secon d closed stop o f this p—itch o n the Pedal organ (either independent or borrowed from a manual Bourdon f E f when rom the Great , cho Bourdon when rom the Swell) . The Bourdon consists o f stopped wooden pipes o f rectang ular shape varying consider m e t ably in scale . The writer has with scales so absurdly small as CCC

- x . . x 4% in . 3; in on manual, 5; in 4ﬁ in . on pedal . Schulze used } in 2 . . 1 . x . A 1 in 7 , cut up 7 in Messrs Forster ndrews at one time — in . 2 8 u . voiced excellent specimens square, cut p 2in The CCC Bourdon 1 . i 1 I in x 8 i . n . pipe at St Mark , Mansﬁeld (Br ndley Foster) , measures 1, ,

. 1 2 x and one by Walker at St Werburgh, Derby, in . in . A certain

1 6 F DICTION ARY O ORGAN STOPS .

As a manual stop the B ourdon dema nds much more intelligent treat a ment than it is usually accorded . Contrary to the generally accepted ide , the author does not advocate its inclusion on the Swell organ . Its proper f o f . place is on the Great, and even there, course, an open stop is pre erable i f far Unless rigid economy is essential, a Contra Viola w ll be ound more

An i o f valuable on the Swell . Open p pe, on account the g reater develop o f i ff the ment its upper part als, is a ected more than a closed pipe by

cre e n i u in tatOn n i f swell sc do. Fail ng an open pipe, a Q (o ) w ll be ound f more useful than a Bourdon . It is a mistake to cut the harmonics out o

- manual Bourdons, as their blending and timbre creating capacity is thereby i B seriously impaired. The ord nary Swell ourdon is muddy, thick and u n ble n din i i o f g , w th a tendency to destroy all deﬁn tion and clearness tone o f B k on that manual . The bass a manual ourdon should be ept very i i i i f . o e . qu et, but by br ng ng out the treble w th some degree boldness (as g , - B i ff f by Hope Jones, inns, Compton) the ut lity and general e ect o the stop m is co n siderably enhanced . It is in the iddle and bass portions o f the compass that a double most readily becomes Objectionable a powerful o f ff 1 treble is by no means out place, but rather Open to e ective u se 50 0

e or in e nse m bl . It is sometimes said that the Bourdon increases the strength o f stops i f speaking an octave hig her, whilst only adding a sl ght ullness to those o f “ ” i is f the same pitch as itself. Th s statement only one o the many bog ies i i a connected with org an bu ld ng. It is certainly very pt to overbalance

i i i o f k - the un son , and to g ve the impress on a very thic , muddy, sub octave f * tone ; but, inasmuch as the octave is a partial absent rom stopped pipes, the Bourdon can scarcely strengthen the unison , thoug h it may be that i k it causes the unison to assume g reater prominence, act ng as a ind o f backg round .

- - a f Contra Bourdon , Sub Bourdon , or Unters tz, is a Bourdon stop o 3 2 ft. f pitch . It is sometimes ound on the manual down to tenor C ( Doncaster i i ro is i fo r a Par sh Church) , but a Dolce or Qu nta n more su table such

“ “ position . On the Pedal , Schulze recorded that the lower notes were o f R not worth the wood they were made ( obertson) . Some ﬁrms

o f U S A . o f Hook Hastings , Hunter, Clapham) claim to be able to i continue the stop down to the lowest p pe in pure notes . The difﬁculty o f i s i i in the case the lower notes that harmon cs become prom nent, and i d whe n the mouth is cut up higher to reduce them , the w n does not reach If i i the lip. more wind be now g ven , the harmonics w ll again appear. It

The o c tav e an d the nine te e n th are occ asiona—lly faintly pe rc e ptible in tne u ppe r po rtio n s of the co m pass o f l arg e sca le d B ou rdo n s 4 1 point whic h wo uld se e m to b e

a t v arian i h th e e a chin s of a c o us ic s . his o f c o urse is u t z a b s o lu te ly ce w t t g t T , , a q a n i e n eig l zjgra ole so fa r as o ur pre se n t a rg um e n t is c on c e rn e d. 1 DICTIONARY OF ORGAN STOPS. 7 w f a n ould seem almost as satis actory, and cert inly more inexpe sive, to A produce the notes below FFF acoustically (see coustic Bass) . In France the name B ourdo n is used to designate all stopped or half- stopped pipes o f i any pitch wh ch form part o f the organ tone proper .

B O UR D O N I N T W O P O W E R S —A device which has been em ployed for surmounting the difﬁculty referred to under the preceding i i f heading , namely, the nabil ty o the sing le pedal stop to do duty a i f r n f l ke o loud a d so t manual combinations . It consists merely o f a mechanism fo r altering the wind pressure s o f upplying a sing le set o f Bourdon pipes . In the case the lower notes ff i f the e ect is sat s actory enough , but the upper notes are thrown per i l c e t b o f . D p y out tune enton Chapel , near Manchester ; Berkhampstead

A i i i . School ; berdeen Un vers ty ; Presbyterian Church, Sh elds ; St James, — — d Cong leton ; Parkgate School , Cheshire (Hope Jones) . Longwoo House,

. o f Nayland Mr Compton Nottingham has , however, introduced i i it with conspicuous success a very s mple compensat ng device, whereby is possible to use the B ourdon in two degrees of power without the pitch o f f being disturbed to the least degree . The tone the stop is satis actory under both conditions o f winding when due care is expended on the ’ All R f i a voicing . Souls Church, ad ord, Nott ngh m . — B o u rdo n e c ho See ECHO . — B R I D G E See B EARD . — B ru m m h o rn See KRUMMHORN .

' a o i i f or Probably onom top eic in or gin , s gni ying buzzing booming

( see Bom barde) .

’ B uc c in a shepherd s horn . (Lat . ) Bucca a cheek, more particularly the soft portion of the cheek covering the hollow of is f the mouth . Buccina by some derived rom Bucca, inﬂated

cheeks being required to blow it . — f . B u rdo A corruption o Bourdon , occurring in ancient speciﬁcations

- B uz a in A D utch corruption o f Posaune .

— f C a lc a n 4 t.

A Flute at Freiburg Cathedral in Switzerland . The organist, on being o f applied to, courteously replied that it was a stop subsequent addition, the stop handle attached to the communication with the blower (C alc an t) having been requisitioned ! 1 8 DICTIONARY OF ORGAN STOPS .

C a lc a n t Calcare to tread.

D f o f s erived rom the primitive method blowing by treading the bellow , ' A z c . . , depressing them by the human weig ht signal whereby the player

B W . may communicate with the blower . See LO ER — C a m pa n a Campanella Campanette ; Glo c kle in Gloc kle in to n

2 ft 1 ft. 6 . Tonus Fabri (g o ) . . ; ; in

A f 1 ft. 6 . i e i stop o shrill pitch, usually or in repeat ng, br ak ng

i . . back, to a sim lar pitch at every octave It was employed by Messrs R u sthal B r c e so n . e y in the organ at St Paul, , near Tunbridge Wells i f r. f at the sug gestion o D Gown (then organ st there, a terwards at Trent

- f I f . o t . College) , as a large scaled cylindrical pipe pitch The stop served to ﬁll up the Mixture work, but it was used mainly to produce a bright bell

ff l f o f f . e ect . It told prominent y through even the ull Swell ourteen stops Seidel describes the Campana as resembling the beating o f hammers on a ” 2 ft. 1 ft. sonorous anvil . Lund Cathedral, Sweden , Flauto di Pan , and ; ’ i n i 1 0 St. GOrlitz as ar xf . Peter, (C p , 7 3) Queen s College, O ord See

CARILLON s . — C a m pa n e lIa See above . — C a m pa n e tte See above. A R L S — l C I L O N Clochettes ; Gongs ; Glockenspiel ; Stah spiel . (Fr )

i Fr. . . Car llon , ( ) Clochette, (Ger ) Glocke bell (Ger . ) Stahl steel .

i . (Ger . ) Sp el play The Carillon or Glockenspiel o f the orchestra varies considerably in f is o f orm . It usually a set small bells mounted, one above the other, on

i . f a st ck , and sounded by being struck with a hammer Stahlspiel re ers i i o f k more properly to metal bars , s m lar to those the toy Harmoni a so “ ” f . requently seen in this country, or to Tubular Bells The Carillon stop - 1 R B . in f f . appears our distinct orms ( ) eal ells Monastic Church,

W i 2 . e ngarten (Gabler, ( ) Gongs Norwich Cathedral (Norman

B for . . . . P . R eard) ; Chamber Organ Mr H J Johnson , J , at Oulton ocks, ff i A o f Sta s . (B nns) Westminster bbey (Hill) The bars are steel, and the i o f resonant g ongs , over wh ch they are situated , brass . The latter are i l o f i i tuned by being ﬁlled w th p aster Paris till the requ red note is obta ned . a Like free reeds, both bells and g ongs necessit te the organ being ke t at — p an even temperature ; when this requirement is fu lﬁlle d and it is no — i f i more than every org an really demands they rema n per ectly n tune. f R Mr . Johnson kindly in orms the author that his at Oulton ocks stand zi c excellently in tune . (3) Tubular Bells, hollow steel rods . Merseburg k G 81 D i Cathedral (Bec er) , called Stahlspiel Bolton Town Hall ( ray av son, b h i Tu ular Bells ave also been recently used by B nns . (4) A

. s A Mixture (see also CAMPANA) III ranks, Westmin ter bbey (Hill) ; A Y 1 DICTION R OF ORGAN STOPS . 9

IV ranks, Sydney Town Hall (Hill) ; Manchester Town Hall (Cavaille

. are o f At Coll) The pipes course very high pitched . Manchester Town o f Hall the stop is always used with the Cor de Nuit . It is composed one f a a a o f 1 2 I 2 2 . r nk (Twel th) to tenor F sh rp, bove that three ranks , 7, 4 From the said note it actually runs up to top C (in altissimo) without a

. The o f f w f r break pipes, with the exception the top e , are all slotted o 9 tuning purposes . The top pipe measures 3 9 in . long. It is questionable whether pipes of such microscopical dimensions are a o f udible to the average human ear. Some persons abnormal hearing, o f unable, however, to distinguish low bass notes, can detect the cries fo r i i insects too shrill the averag e person to not ce, wh lst others, perceiving f f i low notes more easily, are requently ound to be pos tively unable to A disting uish the top notes o f a Fifteenth . t the same time these shrill a of ff o f pipes produce result nt tones some power. The e ect the Glocken m i A spiel at West nster bbey, and Carillon at Manchester, seemed to the

. o f h C f in author excellent Stops t is lass, whilst use ul as ord ary Mixtures, “ are particularly e ﬂe c tiv e for use in such recital pieces as Carillons de “ ” “ D R Air unkerque (Carter) , ondo di Campanelli (Morandi) , composed ” fo r f Holsworthy Church Bells (Wesley) . The di ﬁculty, however, lies in a ff their tuning, and the author has he rd such excellent e ects produced f u in tato n o f i —a rom a Q , or Cor de Nuit, modern vo cing stop vastly more f f f — use ul, and ree rom the disadvantages attendant on such small pipes that the use fo r the Carillon o f Mixture pipes would seem to hi m unnecessary . ff f . i o The late Mr W . T. Best obtained pecul ar e ects this type by the o f i D f use o f mutation work, and such comb nations as ouble, Fi teenth and i f r i o f ff f Vox Humana . The best rec pe o the product on bell e ects rom

i is o f . . organ stops, w th which the author acquainted, is that Mr T Tertius

o f . o f Noble, the able organist York Minster It consists Great organ W f o aldfl t 8 t. o e , or Gedackt , or both, to which is coupled Sol organ V i 8 ft. . ox Harmon c Flute, (box closed) and Tremulant Sometimes the é Humana, the String Gamba (box closed) , or even the C leste is added as a o f ff slight colouring . The essence the e ect lies in the two Flute tones in

f is o f . w i the a o T , h ch, by ction the remulant induced a slight disparity pitch o f a f f The discordant beating the hell is thus simul ted, the more aith ully if the Solo swell pedal be sparingly requisitioned for !forz a n do effects .

f i . . Other examples o Glockensp el occur at St Michael, St Catherine,

N . A m . St. Jacobi, St . icholas, Hamburg ccording to Ha el, at St Michael,

hr ru o f an d of . O d ff, it is steel bars, complete manual compass — C e dirn e 4 ft.

- Re n atu s A stop o f metal, probably string toned (Cithern) , used by a f Harris at Magd len College, Ox ord , — C é l e s t e See Vo Ix CELESTE . 2 0 A DICTION RY OF ORGAN STOPS. — E A l f . C LE STI N Ce e stiana . 4 t

W a H . An A delicate wood Flute, o f open pipes , invented by illi m ill ’ a . exa mple formerly existed at Christ s Hospit l, London (Hill) There was A ar was a touch of Dulciana quality in the ton e . simil Flute employed by A a a of at Schulz e at D onca ster. met l Celestin louder tone occurs the A T a was a a lbert Hall, London (Willis, he n me lso pplied by

- i Ph n u m . . a Mr. Hope Jones to an undulat ng o e a St Mich el, Chester a W r r Squ re, . ; St . Barnabas, Linthorpe, Middlesbo ough C ompton Fold, D Bolton ; Pilton Church, evon .

E E T A — — C L S I N VI O L 4 a. ’ An i f f a o i . . a N oct ve V ole qu et tone St John s C thedral, ew oundland,

( Robson) .

’ E — C L LO See VIOLONCELLO .

m a a Shalo m o Fr. Chale m ie . C h a l u e u Schalmei, Sch lmey, ; ( )

k n . Lat. a a A in to ( E g ) Shawm . ( ) C lamus a bl de or stalk

16 ft. 8 ft.

’ The primitive Chalumeau was the Alpine Shepherds i r pipe m ade of a ﬂat p ece of g een willow bark. The later f r fo r u n instrument, which is ound sco ed by Gluck , is ' f a i doubtedly the precursor o the modern Oboe, Cl r net,

B . w assoon , etc The name is no applied to the peculiarly f hollow low register o the Clari net. The ﬁrst known e x — ample o f the organ pipe o f that name the ﬁrst reed stop o f a —was ii rnb e r the org n at the Frauenkirche, N g (Conrad R ci rca A othenburger, nother early instance was at M St . artin, Danzig The construction o f the Chalumeau appears to have aff orded early builders much scope for the exercise o f their

inventive genius or imag inative powers . Some o f the extraordinarily fantastic shapes of the pipes are depicted in ’ f D o m e a X X Hamel s edition o B dos (Pl te IX ) . The form o f Chalumeau depicted in the illustration is an authentic a r early pattern ; l te on , however, the pipes were m ade like the

o f a a . Trumpet, though l rger sc le The tops were sometimes

covered with muslin . This device was said to ha ve kept s f m r the tone o ter, but was ore p obably employed to keep i f R As out d rt rom the pipes (see EED) . the art o f reed a a k voicing progressed, the Ch lume u, li e the Oboe, became o w classed as unimitative organ tone . N it is practically ha C lume au . synonymous with Musette, and is made as either a free or x a beating reed. Continental e amples are not uncommon, though the stop 1 DICTIONARY OF ORGAN STOPS . 2

is a f s . i . r pidly alling into disu e Christuskirche, H rschberg St Michael, ‘ H i 2 n d a amburg Mar enkirche ( organ) , Lubeck C tholic Church and

i D 1 I 6 . Frauenk rche, resden (Silbermann , 734 and 73 respectively) St Peter,

“

GOrlitz C as arin i At U S . A. ( p , Washington Temple, (Kimball “ f i t o f a ff the stop is described as o grave , sin ster one, supernatur l e ect, ” u i . . . n se p lchral . The organ st , Dr G W Walter, who desig ned the instrume t, i f 1 6 ft a kindly n orms the author that it is a . beating reed, with maple sh llots

i o f a a . o f and metal bod es, B ssoon sc le The tongues the lowest octave are “ ﬂy ” s caled to up to pitch . With normal tongues quality would be obtained

16 ft. o nly at the expense o f prom ptitude o f speech and v ice ve n d. There is a is Schalmei in the org an at the Colston Hall, Bristol (Norman Beard) . It i composed of cyl ndrical pipes surmounted by a capped bell . In the treble the tone resembles that o f a broad-toned Cor Anglais in the bass that i o f a Clarinet with a touch o f French Horn qual ty added . The s top is a - i ff f valuable acquisition to the wood w nd e ects o this organ . H E — — C A M A D Trompette a (Fr . ) Chamade Parley . i FAN Trumpets so arrang ed as to blare d rectly out . See TRUMPET .

M - C H I N E Y F LUTE See R O H R FLOTE . — h r m a . C i i i Clarion Former org an at Seville Cathedral . — C ho ra l A preﬁx signifying that the stop so desig n ated was specially ” for i f intended use in giv ng out the melody o a C horale . C ho ra l

b a s s e t 1 ft. B a ue rﬂOte Kin lb r c k , a on the Pedal organ de ii ) ;

h o ra l ri n i a l ft. . C p c p , 4 , a loud Principal —A i f i i C ho rm a s s preﬁx s g ni y ng unison p tch . Synonymous with [EquaL - e . . C h o rm a s s rin c i a l 8 ft. P o s a u n n r g , p p , e u te ( u n de r) 1 C h o rm a s s Contra Posaune, 6 ft.

— YMB AL T R C im b a ls te rn See C S E N . — C i n k See Z INK .

C LA I R O N It . ) Clarion . — C l a r a b e l l a Claribel Flute . (Lat . ) Clarus bright ; Bellus

f . 8 ft. f f 1 6 t. beauti ul 4 t. occasionally The Clarabella was invented by Bishop as a substitute forthe treble o f a f fﬁ the Great org an Stopped Diap son , which he elt to be insu cient to cope o f D with the rapidly increasing depth and volume iapason tone. Hence

o f 8 ft. m i the customary break the stop into a stopped bass at d. C . The E H o hlﬂ u te nglish is harder and thinner in tone than the Clarabella, which may be said more to resemble the German H ohlﬂOte or P ortu n al

ﬂOte . o f o f l The pipes are wood, open , larg e sca e, and consequently o f i f dull, velvety and cloying tone, with a m nimum development o upper partials . D uring the past decade the Clara bella seems to have largely 2 2 DICTIONARY OF ORGAN STOPS .

f f an a llen into disuse . It orms exquisite solo a stop. In the sense that the pedal Major B ss

1 6 ft. is termed a wood Diapason , the Clara

bella is the wood m anual Di apason . a In the original Bishop ex mples, which, in the ’ a uthor s estimation , have not been surpassed, the Of mouth is on the narrow side the pipe, and, n co trary to the subsequent, though perhaps not f altogether commendable, practice o some voicers, i i x x t is not nverted . There are e cellent e amples

o f B . N the ishop stop at St Mary, ottingham ’ ( 1 8 7 1 ) St . Georg e s Cathedral Southwark;

Brig hton College ; Brompton Oratory . The i O f Willis var ety the stop (Claribel Flute) , though o f o f ﬁrst constructed wood, was later made metal a n f i f d was o harmon c orm . In some instances larg e holes were pierced in the pipes both in the th e o f centre and at top . The size these aper tures could be reg ulated by m eans o f overlapping (tuning) slides (only one of which is shown in the i accompanying llustration) (see KERAULOPHON) . ’ I is n the author s estimation the tone less pure, an d o f B h v arite more hooting, than that the is op y. Those who like harmonic stops as Great organ foundational Flutes will probably ﬁnd it the least C i harmful variety . The laribel Flute st ll exists

i n many Willis organs . The octave Clarabella

' ca l e — is a useful Choir organ stop . S s Bishop i : . x n . Mi Clarabella CC (stopped) 4% in 33} d. C

x 1 . i (open) r% in . 5in W llis Claribel Flute : x CC (stopped) 4 in . 3 in . Mid . C ( open ,

2 i n . . i metal) Mid G (harmonic) n . Cl arab e ll a i h — (B s o p) . . 8 ft. C la ri a n a Clariona . Very rare

A o f . k a S . A. ( 1) metal Gamba ringing keen tone Broo lyn T bernacle, U .

2 An E D . ( Jardine Co. ) ( ) cho ulciana — C l a r i b e l F l u t e See CLARABELLA .

C l a r i n e t Klarinette ; (Ger . and Fr. ) Clarinette (I t. )

i n . i Clarinetto, and somet mes Corno di Caccia (o ) With wh ch are i Fr. g rouped Corno di Bassetto ; Orchestral Clar net, Cremona ( )

rm orn e . . 8 ft. Co , Cromorne and (Ger ) Krummhorn occasionally

1 f ft. 6 t. very rarely 4

2 4 DICTIONARY OF ORGAN STOPS .

with conical bodies at Aix-la hlhu Chapelle Kurhaus (S ta th) . It was a good representation o f the orchestral instrument—not necessarily therefore all that could be desired in an organ fo r stop, the latter is more consistent and regular in tone throughout the compass than

the former . The author has in his possession a replica o f one o f these pipes kindly made

fo r him by Herr Stahlhu th . The Clarinet is a stop o f ” B o f short length . y means a long tong ue it is caused to k s pea at unison pitch, though the length o f the pipe is only a little more than that o f those

o f a 4 ft. stop . (See remarks

under R EED) . Its peculiar hollow tone i s due to the fact that reed tubes o f c ylin dric al form have the property o f strong ly reinforcing the

- odd numbered partials, those yielded by a stopped pipe As a matter o f fact the even numbered partials are not usually entirely eliminated f i i rom a Clar net, espec ally

from the lower notes . In the case o f the Vox Humana the i c lin p pes, though g enerally y dric al d o f , are not or inarily sufﬁcient leng th to exert much

inﬂuence on the tone, to which f act, and to the subdued char o f i acter the sa d tone, is ar tributable the incompatibility o f this stop to the rule above

e n u n c iate d. Similarly the short

- f Fre e re e d Clarin e t ( Stahlhuth) . pipes o the t sharm o n ika 2 DICTIONARY OF ORGAN STOPS . 5

f . If are not able to dominate the pitch o that stop to the Clarinet tube, a as a s i it a n however, be dded a bell ( above) or tuning lide bear ng around ’ “ ” - f Grin drod s Tu b eo n eccentric shaped piece o metal (such as Messrs . a device which often eff ects considerable improvemen t i n the tone Of pipes to which it is attached) some even -numbered partials spring into greater - The prominence, and the tone becomes louder and more Trumpet like. i f w - d Clarinet is somet mes le t entirely open , but hen on an open sound boar in i i f not enclosed a swell b o x) t s usually hal covered with a shade, i f i fo r th e or sometimes ent rely capped, to acilitate reg ulat on as well as f i purpose o protecting it from dust. Occas onally the Clarinet is continued o f B a . h . by bass Bassoon pipes St Mary, Notting am ; by ishop) ’ Some o f Willis Clarinets stand on heavy wind pressure with a bore at th e o f in - o f bottom the boot but little larger than a p hole . The tone a good is A f i f i th e Clarinet very sweet and clear . part rom express ve acilit es, treble o f the organ Clarinet may be said to be considerably better than o f i o f that the orchestral nstrument, but the bass the organ stop can never approach the richness o f the Chalumeau (or bass portion ) o f the orchestral f i f I n prototype . The lower octaves are di ﬁcult to vo ce free rom rattle . Of f It the hands a master the Do u b le C la ri n e t is a stop o rare beauty .

W l k in r . . . A was ﬁrst introduced by Mr e d a e his chamber organ fo Mr . H

k o f . A i a. Han ey, London at the request Mr ug ustus Tampl n , — ’ celebrated executant o f the day especially for use in Meyerbeer s Robert

le . is . . Diable It , unfortunately, but seldom made See also FLUE CLARINET — 5 S ca l e : 1 i n . Clarinet CC , 17

H E R C E S R AL A R E T O H T C L I N T is, as its name implies, a stop i i i bear ng a somewhat sim lar relation to the Clar net, as does the

Orchestral Oboe to the Oboe. o f i i It is made ordinary Clar net pipes, but vo ced to be either very thin f k i and piqua nt, or ull and rich li e the Corno di Bassetto . There s a very

i A i As i good specimen on the Solo organ at Westm nster bbey (H ll) . n

! i some French examples the stop is very sl g htly hesitating in speech, but f i i possesses a delight ul p quancy, which would seem to be unobta nable i f i otherw se . This distinctive eature is probably due to the tongue be ng i in i f much curved . The Clar nets orchestr ons are ree reeds, usually with

f . o f Fre ib o ur square wooden bodies urnished with shades Welte, g

(Saxony) , the celebrated orchestrion builders, sometimes, however, employ a a large conical bodies, yielding tone midway between Bassoon and a

Trumpet. — T E 8 ft . C L A R l N E T F LU . tone

- ff i f A fairly large scaled stopped pipe, di er ng rom the ordinary Gedeckt f the in that the hole through the stopper is larg er, the stopper o ten longer,

li . in mouth lower, the nicking ﬁner and the p thinner The large hole 2 6 DICTION ARY OF ORGAN STOPS .

f f a the stopper relieves the tone of undue development o the twel th, and a reedy, growling tone , by no means unpleasant , and even somewh t sug g e stiv e of the Clarinet (by reason o f the odd-numbered partials being

m i . ainly present) , is produced . Light w nding is advisable The stop was

i f . D probably invented, and certa nly per ected, by Messrs Gray avison , in f whose work many examples are still to be found . There is a success ul instance in the Great at St . Joseph Stockport . Bishop also used

A o f at . the stop . Swell organ specimen his measured the mid C pipe '

I . x f . in . the o f o T% in , height the mouth (to top arched lip) in (very f f . low, under a ourth) , the hole in stopper in The tone is very di ﬁcult

o . to preserve, and to control, throughout the c mpass Christ Church, M ac c le sﬁe ld Lin e s . Centenary Chapel, Boston ( ) St Margaret, Brighton ;

B Bi i an d D . ombay Town Hall ( shop) , conta n examples by Gray avison “ h rﬂ te The term Clarinet Flute is often merely a misnomer for R o O . — l r i i i . C a i . t. a o n Cla ron , Clar n , Clarino (I ) Clar no small Trumpet

ft. 4 on manual and pedal.

An d i i a d octave ree , vary ng considerably in power and qual ty ccor ing to 1 6 f i 8 ft. w . the t. and stops with hich it is associated Pract cally an o i ctave Trumpet . The Clar on should invariably be harmonic in the t b i i an d re le, as thereby not only is the qual ty mproved the wearisome c i n — a lang removed, but it is also more likely to stand tune virtue

- o f g enerally beyond the attainments of the true length pattern . Unless i tO fe w f m O f harmon c construction the p notes are, as a rule, or ed ﬂue i i i a r n is p pes , thoug h W llis carried his reeds r ght through . Tu b a C l io a n octave Tuba . — C la ri o n Mi x tu re This stop was used by Messrs . Walker at a time f when they had discarded 4 ft. reeds . It was there ore intended to

add considerable brilliancy to full organ .

o f The Clarion Mixture was III ranks, heavily blown , and voiced to o f c onsiderable power. Had it been V or VI ranks it would probably

. . i i have been less obtrusive, because less bare See SCHREIER Holy Tr n ty, W S . . a . S loane Street, St Matthew, North mpton ; St John the Divine,

W. K i S . enn ngton ,

- — t . 8 f C la v ae o l in e ro t ; t.

A f i r a B e o f ree (harmonium) reed nt oduced into the org n by ey r, of i i 1 8 0 . . Nurnberg, in 3 The tongues were n ckel silver It was s milar its Ph sharm on ika i n all respects to successor, the y , save that there existed r i i ff t i no device fo secur ng express ve e ec s by vary ng the wind pressure.

W n z slau s l Fulda St . e e , Naumberg ; Perleberg Sa zwedel (Turley, h lav ae olin m a f - f i T e C e has also been ade as so t toned ree reed, w th bell s haped pipes . DICTIONARY OF ORGAN STOPS .

E A R F L TE — C L U 4 ft.

f a . Invented by Messrs . Kirtland Jardine, o M nchester The pipes, w O f an d hich are wood and nearly square in sha pe, are open voiced with an i are nverted mouth on the narrow side . Sometimes they not nicked at all . The block is of the German pattern as in the Gedeckt

- wedge shaped , owing to which device the wind is supposed to undergo it compression as reaches the mouth . The stop is copiously winded the t is a one cle r, dour and hooting, of a type which scarcely blends well, and which does not generally appeal to the listener as particularly musical .

a : ft. Beeston Parish Church, Notts . ; St . Peter, Manchester. Sc le CC 4 , i n . x 2 3% 8 in .

AR ILLONs . C lo c he tte s Bells . See C — C o m m u n ic a n te n -Glo c ke A bell employed as a signal to intending a communicants to approach the altar, just as the S cring bell is At E f now so employed . Walschleben , near r urt, it was sounded

in the org an .

m n a n Mix r u n C o p e s ti o tu e Compensating Mixt re, Corroborati g

Mixture . I - o f R ( ) Invented by Herr Musik direktor Wilke Neu uppin , and ﬁrst

. a . 1 8 8 i ntroduced at St Catherine, S lzwedel, by T Turley, in 3 , as a

f ft. 2 f . 2 f . f 1 repeating pedal Mixture o V ranks ( 3% § t t t. ; and The stop was intended to lend a decisive intonation to pedal notes in f f o f o f rapid passag es . O recent years the di ﬁculty securing promptitude S peech in pedal pipes has been solved by the use o f beards for ﬂu e f 2 A i pipes and o f pneumatic starters o r large reed pipes . ( ) soft M xture i i n i intended to represent the natural harmon cs wh ch the organ , in

i is . f comparison to orchestral nstruments, deﬁcient This type o Mixture

is sometimes named Corroborating Mixture . A Compensating Mixture o f u VI ranks occ rs on the Pedal organ , and a Corroborating Mixture o f V ranks (string-toned) on the second subdivision o f the Swell organ i n the

r A f r . E i organ desig ned by D . udsley o the St Louis xposit on o f 1 904 (Art

o . A . Organ C , Los ngelos) — . . Ko n z rﬂ ft. C o n c e r t F l u t e Orchestral Flute (Ger ) e o te . 4

sometimes 8 ft.

1 . An a Generally on the $0 0 organ inst nce occurs on the Great at St .

. i a Margaret, Westminster (Walker) Though orig nally identic l with the

German Vienna Flute, there is now no special signiﬁcation attached to the I o z F n ame . It might be ( ) Flauto Traverso (g ) ( ) Harmonic lute (powerful) ; (3) Large open wood stop of the Tibi a Major type ; (4) A

- clear toned Flute o f the WaldﬂOte type . — C O N E D IA PAS O N See CONE GAMBA. 2 8 r DICTIONARY o ORGAN STOPS .

C O E G A M B A— k i z ﬂ t N Generally nown in this country as Sp t o e . a i a e The Cone G mba is shaped l ke Gemshorn , tapering as the pip f ascends . Though o larger scale it retains the characteristic sweet and

o f . f a bright quality that stop It is, in act, midway in tone between Di f an d a . Ra ff apason Gemshorn dcli e, Manchester ( ormerly the Nave D is Organ , York Minster, by Hill) . The stop known as Cone iapason

a ff . if a practically a distinction without di erence Its tone, nything, f inclines rather more to that o a reedy Diapason . Cone Gamba must not f i a be con ounded w th Bell Gamba, or with the Hill Viola da Gamb (see

BELL GAMBA) .

— - n da 8 ft. . . C o e Ge c kt tone . Invented by Mr Hope Jones The only example o f the Cone Gedackt occurs in the Choir org an at Worcester

' l - ' in . i Mi . I . . d n Cathedral Tenor C , 3 in . C, i in Treble C, I ra

diameter . of i i f The bass is ordinary Gedeckt p pes with sol d stoppers, but rom f i i ﬁddle G upwards a tube o nverted con cal shape is ﬁtted into the stopper . In this case the tube is tuned to resound to a note one octave higher than f i o f . that the pipe The octave, a partial absent rom stopped p pes (see i c note under BOURDON) is thus ntroduced, onsequently the tone resem bles i in f f to some extent that o f an open Flute . Follow ng the wake o Pro essor

- i . Helmholtz Mr. Lew s and Mr Hope Jones have Obtained some very peculiar and not altog ether displeasing effects from Gedeckts by the employment o f chimneys o f unusual len gths . It is Obvious that various i an d i i upper partials, harmon c nharmon c, can thus be accentuated or i m a in side o f i — introduced . The ch mney y also be extended the p pe with ’ o f i d m ixed results . In some Will s Lieblich Ge eckts the stoppers at tenor

1 0 . . C measure as much as 8 in . or in long — C o n i See CONUS .

/ 0.s xAvré i P . 8 ft C o n o c l te mi n c g a cone ; I hear ; g aud ble ( ) . y — At Beauvais Cathedral ( 1 8 2 7 1 8 2 9) were introduced the ﬁrst examples

o f f . C o n o cl te Te r o m e le of the modern type organ ree reed, viz , y , p and fo r E uphone . The two last are rendered expressive by a device varying C o n o c l te k is the wind pressure . The y , which spea s on a ﬁxed pressure, n i composed o f tin pipes o f Gemshorn (tapering) shape . In to e t is a sort o f combination Of Bassoon and Clarinet.

C o n t r a Contra against . - i —ti e A preﬁx synonymous with double, indicating sub octave p tch , . B . a a an octave below the unison For Contra ourdon , Fagotto, G mb ,

. Trombone, etc . , see respective headings — 1 6 ft. C o n t r a B a s s Ke nn a Bass .

o f . N A stop imitative o f the double bass the orchestra See VIOLO ,

MAJ OR B Ass . DICTIONARY OF ORGAN STOPS . 29

C o n tra s P ro fu n da — 2 f s The name applied to the 3 t. pedal stop at a a A Am é z u a Seville C thedr l ( quilino , — o n u . C s Coni . ( Lat ) Conus cone .

n m f of . i z ﬂ So a ed rom the shape the pipe A Sp t ote . — o l a . 1 6 ft. 8 ft. ft C ppe Copul , Coupling Flute, Koppel 4 . - A term applied to the Ge dackt o n account of its supposed use to bind f f ' together or molli y stops o extreme tone . The idea still survives in the i of i i tradit onal use the Gedackt w th the Clarinet . The probab lity is that the early Clarinets were so thin and rough that they scarcely admitted o f independent solo usage . The Coppel was also employed in the case of - — as E slow speaking stops such Gambas (see GERMAN GAM A, HELPER) . was of m Sometimes the Coppel composed open pipes . The na e was also a an d i occasionally applied to the Gemshorn (why, is mystery) , to mutat on ranks either separately or collectively as a I II ra nk Mixture

St. Dominico, Prague) . Minorite Church and St. Stephen, Vienna (latter Wal c ke r 1 8 8 6 C a r by , ) Monastic hurch, Weingarten (G ble , — C o ppe ldo n e 4 ft.

l n An Perhaps a variation of Coppe to e coupling tone.

a Lii n e b ur . Octave . St . Joh nnis, g

— ; 2 ft. K . a C C Oppe n do fF z ft. 3 onigsberg Perh ps oppell

D Off. — C o p u la See COPPEL.

C O R Horn .

— E C o r A n g l a i s Corno Ing lese, nglish Horn .

f f f . . . 1 6 t. 8 t t (Fr ) English Horn . rarely 4

- a f a sma ll - a Formerly a large sc led ree reed , now sc led reed, i mitative o f the orchestral instrument . The stop was specia a f it was liz e d in France as ree reed, and at one time cus to m ary to i mport Cor Anglais stops of French manufacture

c . a . As a nd voicing into En gland ( g , St Peter, M nchester) recent exa mples of such imported s te ps m ay be cited those H a D R a in the organs at Castle ouse, C lne ; erby o d Chapel,

N otting ham (both by C onac he r) . There is als o a very ﬁne 1 ft e c at R B an d a 6 . sp imen Oulton ocks, Stone ( inns) , nother e- at i C Ca (tongues from Cavaill Coll) Tr nity ollege, mbridg e - of f (Hill) . Cavaille Coll, however, abandoned the use ree E a fa can reeds ci rca 1860. qu lly satis ctory tone be obtained a an d from skilfully voiced be ting reeds ; these, moreover, h ave the advantage o f being free fro m that very unfortunate 0 3 DICTIONARY OF ORGAN STOPS .

f too well . As o f f n . o virtue ree reeds (o ) viz , that standing in tune E f fo r im nglish builders do not make ree reeds, and as the craze their o rtation i A a a p has d ed out, the Cor nglais , when made at all, is now usu lly

- i e . . beat ng reed, g . , Warwick Colleg iate Church (Hope Jones) The shape o f i is a w i the p pe peculi r, the tube, hich widens slig htly, be ng surmounted ' f a do u le i an d . o by b bell, success vely widening narrowing The tone the A i is n o f a an d Cor ngla s rich , and in the lower otes a very peculi r hollow A f f o f n ft metallic quality. aith ul representation the to e can O en be built i m a up with such stops as V ola da Ga ba (old Hill type) , combined with

A . . . f S uab e ft. COR so t Flute, 4 (see FLUE NGLAIS) Mr T Tertius Noble, o f M ff the accomplished organist York inster, employs with remarkable e ect — f i for A i 8 ft. the ollow ng recipe Cor ng lais tone Str ng Gamba, ; Gems f ft. 8 ft. A o horn , 4 and Clarinet, There is a Cor nglais a somewhat

v n n t i . sing ular pattern voiced by Mr. E e e t in an organ at Sale ( Lew s) It o o f o f is comp sed pipes conical shape, surmounted by an adjustable

hood .

’ — C o r d Ha rm o n ie S ft.

An a o f B . . a . Oboe b ss, probably assoon pipes St Denis, P ris See

HARMONIE. — f D I B . C o r de B a s s e t 8 t. See CORNO ASSETTO — C o r de C h a s s e See WALDHORN . — Fr. Fr. C O R D E N UIT Nachthorn . ( ) Cor Horn ; ( ) Nuit night ;

. i its f (Ger ) Nacht night . This stop der ves name rom the Horn

o f the night watchmen o f Olden time . In some places in the south o f France the custom still survives of the night watchmen blowing f their Horns and announcing the hour and the state o the weather.

6 f 8 f . ft. f . 1 t 2 t 8 f . Formerly t. 4 rarely Now usually t

1 i i ( ) A modiﬁed form o f Qu ntaron . The prom nence o f the twelfth

- i a . Imparts a horn l ke character, especi lly in the tenor octave The pipes o f f are larg e scale, and it is essential that the mouth be low. O this there are two varieties : ( a ) A stop differing from the Q u in ta tOn only in having f i . e . . . A. the twel th less prominently pronounced g , Wash ng ton Temple, U S . i Fe rn h orn E o A k ( K mball ( cho Nachthorn) . ( ) Gedac t which, in f speech , touches the twel th, and then drops down to the g round tone only, i o f f y elding but little more the twel th than the ordinary Gedackt . This o f i i i type Cor de Nu t s met w th in France . There is an example by

e - A Cavaill Coll in the Celestial organ at Westminster bbey ( Hill) . There 1 6 ft is also a . specimen on the Choir organ at St . Marg aret , Westminster k f o u in tat n . (Wal er) , though bearing the name Q O Mr. Gern has used it i e on several occas ons in this country ( .g . St . Matthew, Westminster) . The

stop is sometimes bearded.

2 3 DICTIONARY OF ORGAN STOPS .

a m the combin tional stop, the Co et is someti mes made to increase in n i umber o f ranks in the treble . When so des gned it serves to disguise “ f the breaks in the other mutation work . This variety is o ten known as ix Progressio Harmonica, and sometimes as Compensation M ture The name Cornet is now applied indiscriminately to any Mixture stop of f a goodly number o ranks . 2 m f a ( ) Occasionally the Co et is ound as a reed, usu lly on the Pedal a o f ft 2 ft org n, and 4 . or . pitch . In such cases the tone resembles that

o f Z o . A rn tin . the ink (g ) lso named Co e , Cornetto, or Cornettino KOn i sb e r 8 ft g g Cathedral, . St . Ulrich , Magdeburg .

E h rn —A i a b ox c o C o e t M xture stop usually enclosed in swell .

Generally what is known as a Dulciana Mixture . There is an excellent example o f an Echo Cornet o f VI ranks in the

1 f Celestial organ at Norwich Cathedral (Norman & Beard) , urnishing an excellent example o f what a Mixture ca n be made when due care and interest is expended thereon .

- - i 8 ft. . C o rn e t a P a v illo n Pav llon hell . See CLARINET

- n Z K . C o rn e tti o See CORNET, IN

- The name Cornettino has also been applied to a reedy toned Fifteenth . — n Z K . C o r e tto See CORNET, IN — C o rn e tto di C a c c ia See WALDHORN .

C O R N O Corno Horn . fo r The name is occasionally used the Horn stop .

r n o d i B a s s e t t o — B C o See CLARINET, ASSET HORN

(Corno Basso) . — ft 1 6 ft. C o r n o D o l c e 8 . occasionally

D i f o f The Corno olce may be sa d to be a louder orm Flauto Dolce .

o f - to It is constructed Dolce shaped pipes, wider at the p than at the d R bottom . Free Trade Hall , Manchester (Jar ine) ; ug by School Speech

R Br c e so n . . A o f f oom ( y ) The stop is made by Messrs ndrews Brad ord . i is u i Somet mes, however, the Corno Dolce shaped like the Fl te Con que, Wa ldﬂ an d occasionally even resembles the Ote .

- - C o x n o F l u t e 8 ft.

1 A i . i . ( ) reed stop, nvented by Mr W lliam Hill It possessed wooden o f i tubes , and was a quiet tone, resembl ng, somewhat, that o f a modern

An . Orchestral Oboe . example still exists at St Olave, Southwark . The

i o f 2 stop being a reed, the select on the name was scarcely happy . ( ) A

. . B ﬂue stop invented by Mr Herbert Norman (Messrs Norman eard) . ’ o f u A is The tone, which resembles that a Dolce or Fl te d mour, extremely r DICTIONARY o ORGAN STOPS . 33

a f ff a be uti ul and mellow in quality . In the tenor it a ords good represent f o H . i i n ve rted fl ation the Orchestral orn The langu d is , being at at the tO V W p and bevelled away underneath (see IN ERTED LANGUID, STOPS ITH) . li f n The upper p is arched, le t slightly rounded not deﬁnitely ﬂatte ed ’ - f A into a bay lea ) , and not bevelled . specimen in the author s possession i 7 1 n . u in . measures , at Mid . C , }7 , cut p 1 15 , on 4 in . wind . The Corno f f Flute is usually made o spotted metal . It orms an ideal Great organ a All i ccompanimental stop . Saints, Nott ng Hill, W.

E S E A C O R N O I N G L Cor nglais .

— f r n m . a o C o n o p e a Co o Horn Pean , or P ean Hymn

8 ft. Praise . i f ( 1) A reed stop invented by Mr . W lliam Hill . O smaller scale and it f somewhat smoother tone than the Horn , is so ter and rounder than the

o f i n . Trumpet . The pipes are nverted co ical shape, and the tongues thick Like all chorus reeds the Cornopean i s all the better fo r a fairly heavy o f f wind pressure . This class stop was practically per ected by Willis, k i h i whose wor exhib ts as g reat an improvement on t at earl er in vogue, as i A did the latter on that o f the old Eng l sh builders . harmonic treble is

A - o f absolutely essential fo r the best results . smooth toned reed this ff 2 description is more e ective in the Swell than a Trumpet . ( ) Formerly in Germany the name Cornopean was sometimes given to a large- scaled

- o f k v o f . fl ue stop horn li e tone, a ariety Cor de Nuit

— X C o rro b o ra ti n g Mi x tu re See COMPENSATION MI TURE .

C o u p l e r A mechanical device fo runiting various departments

or keys o f the organ together . — Couplers are comprised under the following headings ( a ) Uniting — . b two departments Swell to Great, Swell to Pedal, etc ( ) Octave and Sub i o f r i octave Couplers , depress ng the notes at intervals an octave espect vely

. if E above or below the chord held Thus, the chord C G be held o n the Swell organ , and the Swell Octave Coupler be drawn, the said i o f m C E G will be duplicated an octave h gher . This type coupler ay — further be d ivided into two classes (i) Those couplers acting on on e manual only, or on the pedal, as described above . (ii) Those acting on — Gi e at - separate manuals Swell to Sub octave, Swell to Great Octave . The Octave Coupler is sometimes named Super-octave Coupler in

- i contradistinction to the Sub octave Coupler . Strictly speaking th s is a

“ v i the e m in olo usua e m l o e d. The a u ho r m us n e ve r he le ss The ab o e s t r g y lly p y t t , t , r n re fe e n ce fo r th e s le S e l S ub -oc a e to Gre a S e l Oc av e to e xpre ss his st o g p r ty w l t v t, w l t — i Gre at as b e in g m o re luc d. 34 DICTIONARY OF ORGAN STOPS .

- im i 2 ft. ft. . A misnomer, as super octave pl es not 4 pitch real Super

i - octave Coupler, Cho r Super octave (two octaves above) to Pedal was 1 8 6 a T C d , ﬁtted to the org n at rinity ollege, Cambri ge, as early as 3 at the W isl for o f Dr. alm e suggestion y, who desired to provide pedal melodic

ff i if - - e ects . At the same t me, Super octave be wrong , then Sub octave is f f r i . also wrong, o it would imply un son p itch It would be less con using “ ” - - n i i to adopt the style, Sub unison and Super u son , or s mply Sub and “ ” c i i Super . ( ) Double Touch Coupler, com ng nto operation only when h i the key is depressed beyond a certain distance . Patented in mec an cal f S tido l h o f 1 8 f orm by p , Ipswich, in 59, used in pneumatic orm by

We lake 1 86 2 f . Mr . d in , and more recently in electric orm by Mr Hope “ ” L d ff . Jones (see DOUB E TOUCH) . ( ) Unison O Coupler This was “ f f a . invented in the orm O movement giving octaves only by Mr Casson , him “ i Off ” being ﬁrst used by at Omagh , Ireland The Un son

Coupler has been used by Walker (St . Margaret, Westminster ; York Min A i ster) , Forster ndrews, Hunter, Keates, Compton, and poss bly by other

W - i for i . bu lders . It is a device silenc ng unison action ith Sub octave i and Octave Couplers drawn , a g ven chord will sound in three pitches “ - - i o ff sub unison , unison and super un son . On drawing the Unison

o f d is - Coupler the middle the chor removed, and super unison and sub i i i n unison p tches only rema n . Very cur ous and interesti g possibilities

ft. are thus placed at the disposal o f the player . The Swell Oboe 8 or 8 f ff i l t Gamba t. may be most e ect vely coupled to the Great organ H o h ﬂo e ' sub-u n ison itch on l B 1 6 ft H a rm o n i C Flu te in p y , or the Solo assoon . and

' 8 f i u e r- i zt n n s un son clc o . i ff i t. p p ly That the distinct ve e ect s at once lost if i d d i w i un son pitch be a de , pract cal experiment ill read ly demonstrate . i in A i In some org ans , more part cularly mer ca, the unison action is f made to draw as a separate coupler . It is , however, pre erable to assume l o f fo r i o f i the norma operation the unison action , the provis on a negat ve “ ” ’ o ff fo r is unison action , special use, no constant tax on the organist s m S o me ory, as is the case with the contrary arrang ement . much fo r the ff f 1 8 8 1 di erent varieties o couplers . In Mr . Casson introduced the i o f i o f pract ce g roup ng all couplers as stops the division , the power or the

resources o f which they aug ment . Thus the Great to Pedal will be to grouped with the Pedal organ , the Swell Great with the Great organ , “ ” the Swell Octave Coupler and the Swell Unison o ff with the Swell f i organ , and so orth . The pract ce has since been adopted by several i ’ other builders , notably by the late Mr . Henry Will s at St . Paul s Cathedral V (See also OCTA E COUPLER) . “ ” 2 o f ( ) For Coupler, in the sense Coupling Flute, see COPPEL. — C o u pli n g Fl ute See COPPEL . — S ft. C o u rc e llin a See BELL DIAPASON . DICTIONARY OF ORGAN STOPS . 35 — C o u rte l a u rta n - Co d. u i Court l ; (F Court short, Courta d th ck set . r l i The instrument was a short Bassoon . C o u te was an a nc ent name “ for B . a i i assoon I knew him by his ho rse vo ce, which sounded l ke the f — o c o u rte l . B 1 60 lowest note a double (Tom rown , Works, ed . 7 , ii . , The Co u rte l was one o f the stops which Harris challenged Smith to make i fo r within a certa n speciﬁed time the Temple organ . The name has

been used by Mr. Casson .

r m n — C e o a See CLARINET. C B E— U See PYRAMIDON .

C u c ko o — C u ku k Gu ku k u k Cuculus , , , C c g u c k. An arrangement whereby the cuckoo was imitated by pipes speaking

a n d i h An an interval between a major a m nor t ird apart . example is still

h 1 extant at the Monastic C urch, Weingarten (Gabler, 7 thoug h when “ ” the author heard this instrument the Cuckoo was on strike . St . Catherine,

Mag deburg Sondershausen ; St . Gotthard , Hildesheim . — C u s pida See FLAUTA CUSPIDA .

C lin de r u in t—A i f o f d i y q Qu nt or Twel th with pipes cylin r cal shape, as i f opposed to the taper ng Gemshorn pattern, ormerly so fashionable

i n Germany . — m l C itn b a le . C y b a , Cymbel Possibly owing to its brilliant effect the stop derives its name from the

r w o orchestral Cymbals . (G . ) juﬁ g a cavity or hollow vessel . From an i f f. r. xo we w imitation o f the sound o str king a hollow object . C (G ) y to

k a k . . i clan , in to (Lat ) Campana bell Pract cally identical with Sharp

i x i . m d d M ture, or Furn ture Occasionally real cy bals were intro uce into

m l u k m . i e . . be a e D n . the organ , g Cy p (Cymbals and Dru ) at St Cather ne, a zig

— im b a lst rn i te llaru m m b a ls te rn C e E S . . C y , to le Sonore, Vox (Ger ) Stern

Fr E . . Fr. ( . ) toile ; (Lat ) Stella star ( ) Sonore sonorous ;

(Lat . ) Vox voice . The Cym b als te rn was a very favourite accessory o f mediaeval cont inental o f - o rg an builders . It consisted a star shaped metal case representing the f s tar which guided the Magi to the cradle o the Messiah . To it were — i — W i attached either inside or outs de little bells, h ch j ing led when the

A fe w e . . star was caused to rotate . examples are still extant, g , that at I the Monastic Church, Weingarten (Gabler, 7 Other examples

n n . a . K i . occurred at Wa lte rhau se , a d St Mich el, St ather ne, St Jacobi,

N l . St . icho as, Hamburg — i P o rtu n al . . C z a ka n ﬂate 8 ft. Pract cally identical with St Marien

i . k rc he, Lubeck The Cz akan or Stoc kﬂote (obsolete) was a variety o f Flageolet o f

B ohemian origin . 0 3 DICTIONARY OF ORGAN STOPS .

D .

D i e m a . ft c tenth Great Tierce, 3% .

D m N n a i f e c a o . r t i nineteenth Lar got , é .

De m n f - c a u ta . 2 i Q i ﬁ teenth Super octave , On the Pedal

org an , an octave lower .

D u D i P lic ar f e c a e . pl ec ma tenth , ten old D ecima or Tierce .

— ' D i r 5161 wa o ttw o f a p a s o n From the Greek ) , an abbreviation the

' 1 an. n a rro w o Ba w a v u t wv i a phrase ) x p l p a concord throug h all the —Le o f tw i tones , a concord the o tones obtained by pass ng through i f 1 6 f 8 f f D . 2 t. t. t. t. 2 f all the tones (Century ict onary) 3 ; ; ; 4 ; t. ; o f i and Mutation . The word is taken as a standard pitch (D apason

. o f Normal) The stop is the standard the org an , its tone the i D D typ cal organ tone . See also BELL IAPASON , DOUBLE IAPASON, X V FIFTEENTH , MAJOR BASS, MI TURE, OCTA E, PRINCIPAL, SUPER

V . 8 ft. OCTA E We shall here conﬁne our remarks to the variety .

Ge r. . u ( ) Principal (Fr ) Montre, or colloquially Fl te de Huit .

1 ik i ( ) Unl e other tone qualities D apason tone is peculiar to the organ, in D ﬁnding no counterpart the orchestra . The iapasons constitute the kb o f i a bac one the org an , hold ng the bal nce between Flutes , strings a n d P rO o rti n at l f . o e D combinational reeds p y, there ore, as the iapasons o f an d f i i i organ epart rom th s d stinctive pos tion , so does the g eneral e n se m bl e

ff . I f he ﬂ u te k if su er the stop y, the org an lac s l e and vig our, and the string s f if and reeds stand aloo ; , on the other hand , the tone be stringy, depth i ' ' ' ' ' d . [n m e d o tn l z m n l ssz s zbzs . and ig n ty are sacriﬁced to brilliancy Thus, attempts to render Diapason tone sensational or imitative are necessarily — f i it b e d o f ut le ceases to , Diapason as that word is un erstood by j udg es i tone . The author would by no means w sh to imply that there is but one f pattern stop worthy o f the name o Diapason . There are Diapasons o f i i i o f var ous types, j ust as there are var et es Gambas and Flutes . On e i it i n d fe w a o wr ter, is true, a pamphlet issue a years g , advanced one hard

f i o f o f and ast set collect on measurements, one stereotyped alloy metal, as

i o f D i f - alone product ve true iapason tone su table to a air sized church, i if k Art endeavour ng to just y this u ase as being determined by an rule . if i The d ﬁculty is, rather, to bel eve that anybody claiming the name o f

. is artist could possibly advance such a proposal Diapason tone not, and d let us trust, never will be, the arbitrary stan ard determined by one brain . — We hear much nowadays o f standardization it were as well to attempt to ’

i k . uot b om zn es tot se n /e n ti standard ze coo ery as org an tone Q ce . But taste i o f must be ord nate, and there are broad limits , outside which, in the DICTIONARY OF ORGAN STOPS. 3 7 judgment o f competent tone critics who have studied the most re pre s e n tativ e D types, true iapason tone is lost and merged into Flute or string — i f . tone lim ts, howbeit, deﬁned by no arbitrary line o demarcation It is within these bounds that the author will endeavour to justify his own f particular pre erence . — ( 2 ) The pipes o f the D iapason are o f metal the heavier a n d — f thicker the better cylindrical in shape, o large scale, a n d copiously winded . The wind pressure on which the stop is voiced varies considerably according to circumstances ; it is f . i usually rom 3 in to 4 in . It is poss ble to voice the stop o n f i i a a rly heavy w nd pressure, the bore remaining small, but as

8 . . f if in or 9 in is exceeded, it is di ﬁcult to avoid windiness is k f d fo r the tone to be ept su ﬁciently subdue normal use . f The bore, in act, becomes so attenuated that the rapid inrush o f is a t i i i wind p to g ve r se to windy and whistl ng sounds .

010 There is, however, a Diapason on the S org an at St . John i i i k 1 , the D v ne, Kenn ngton (Wal er) , speaking on actually 5 in

wind . It is someti mes convenient to plant a Diapason on the d same soun board as heavy pressure reeds, and a capable i i vo cer can do so within the l mits speciﬁed above, absolutely and entirely disg uising the employment o f heavy pressure from i . E b i i h the l stener The early ng lish u lders, w t their small s f in scales and light wind pre sures , o ten succeeded producing o f f i ca n ta bll e stops beauti ul qual ty, mellow, sweet and to — a deg ree stops admirably adapted to the musical require o f i ments the age , but now, as Great org an pr mary Diapasons, * i d i f is i totally na equate in po nt o power . It somet mes o f a o f is asserted that the production this cl ss tone a lost art, i l o f that modern vo cers cannot equa , much less excel, the work

S n e tz le r . such g eniuses as Smith, Harris, and Green It cannot too deﬁnitely be pointed out that any such statements

i f . are absolutely at var ance with the acts Modern artists, with i i l the ncreased resources sc ence had p aced at their disposal, can voice delicate Ge dac kts and D ulcianas o f exquisite quality — f o f f and , urther, can preserve the same degree per ection

throug hout the whole compass, an attainment which even their most zealous devotees can scarcely with an y semblance o f

f D ia aso n . verity claim fo r the old school o builders . p

In like manner, did they so desire, modern voicers could

f f S o f D a . f aith ully reproduce the old tyle iap son In truth, much o the

f . a i n work o the late Mr Thynne, whose ide ls some respects centred round

’ “ S e e th e a u ho s on a De si n in Mode n Or a n Bui din . 18 1 22 an d 2 t r T l g r g l g , pp , 9, 3 8 Y o r 3 DICTIONAR ORGAN STOPS .

of x m li c ti n f the work the old builders, provides a striking e e p fi a o o the o f Bu t f validity this contention . the act is, not only the musical require ments o f the age but also some o f the fundamental principles o f organ i building have s nce changed, and modern voicers have no desire to i embrace Father Smith as their sole tonal exemplar . D apasons of the r i f old style, though in a sense pe vading , are but sl ghtly more power ul than Dulcianas ; they are pre-eminently adapted to a certain type o f unenclosed Choir organ , but, as has already been observed, when required to do duty as Great organ primary Diapasons they do not adequately i f i i f A sat s y the pract cal requ rements o the present age . certain old fashioned delicacy o f tone has indeed to be sacrificed (thoug h it is d preserved in reg isters more fitted to display it) , but in its stea we are i i enabled to command a breadth and sonority infin tely more dig n fied,

- i grand and soul stirr ng .

* An ab surd s u e s i i o n hich s e e m i n di e s h a rd i s tha t th e on e o f o a ns p r t t , w g ly , t rg "

im ro v e s wi th a e . Fe wre s o n sib e e s o n s su o s e wi a e m to m a in ai n h is so p g p l p r , I pp , ll tt pt t t , fa r as re e d ton e is co n c e rn e d. As re ards ﬂ u e i e s it is kn o wn tha a o s c o n ta i nin a g p p , t ll y g . l ar e ro o r i o n o f ti n u nde r o i hi n a sho r e rio d a fte r c as tin a c e r a in a m oun o f g p p t g , w t t p g , t t

cha n e as re a rds m a le abili . P ra c tic a c o n side e d ho u h i t is us ossibl e ha g g l ty lly r , t g j t p t t so m e sl ig ht c ha n g e o f to n e m ay o cc u r within th e ﬁrst fe w m o n ths a fte r the pipe is m a de wh ils so to s e ak i t is se tt in do n — h e re is a b so u e l n o ou n d wh a e v e r fo r t , p , l g w t l t y g r t u b s n to ha ri a i rn a l r e a l su ppo s in g tha t s e que t t t pe o d ny n te p o c ss o f c h n g e ta ke s p a c e . h re is on the o the r ha n d e v e r e v ide n c e fo r ha fa c tha c o n s ta n un in e x te n di n T e , , y t t t t t t g , g , m a b e o v e r a e rio d of so m e e a rs m u s a n d does le ad to c o n side ra b le de te rio ra i o n in y , p y , t , t i s a so k n o wn tha a l o s rich in ti n e x hibi a r a in a m u n t the to n e o f the pipe . It l t l y t ce t o of i i n c a nd ha t hose c o n ta in i n a ar e ro o tio n o f l e a d a re o sse sse d o f s i ht re s l e y, t t g l g p p r p l g ly v is o us ro e ie s a n d a re he re fore a t wi th the l a se of im e to si n k do n unde r c p p rt , t p , p t , w is u i e e v ide n ha if th e se c harac e ris ic r a l f the i r o wn we ight. It q t t t t t t s a e t a l wo rthy o c o n s ide a io n he m e re co n s ire to u s e th e m o u h ad us m e n o f th e i e a nd r t t y ly p p t t j t t p p ,

th e re by to i m pair the ton e . An o he r sim i a r asse r io n s o m e im e s e n u e d i s ha o in to the in ro duc io n t l t , t v t r , t t w g t t d ss u re s i e s n o l o n e r m e l ow i h a e a s in da Th o f h e a v ie r win pre p p g l w t g ys o f yo re . e fac t is tha t the m e llo wn e s s o f the to n e whi ch is c o n s pic u ou s i n m u c h o f the wo rk

wa th r r m t r ~ a h S m i th fo r i ns an c e s e e o lze v e sta rt. In h is da s c om o f F t e r , t , f y y , pe titio n s e e m s to hav e tu rn e d m ore on the qu e stio n of m e rit tha n o f cash ; fo lks we re i ur a n d e re n o t a ddi c e d to th e h urr an d b u s l e o f m o de rn ia m o re l e s e ly, w t y t c o m m e rc l f We c a ch o n e im se o f the U o ia n co n di tio n s u n de r which h e wa s e n ab e d to li e . t gl p t p l ’ l u r in D r. B u rn e s ra ditio n a s ta e m e n rossl e xa e rate d as i t c e r a i n l i s ha t ab o y t l t t, g y g g t y , t

' to ork wi h o o d whic h ha d th e l e ast kn o o r ﬂ a w i n i t m i r fuse d . h S m ith e w t w t S t , ’ r a n d G re e n we re th e Willis s an d Hi s o f th e da he re e re assu r dl Sn e tz l e , , ll y ; t w e y - i m n w j e tty b uilde rs i n o lde n t e j ust as o . “ The princi ple tha t the o ld i s b e tte r tha n the n e w m ay do u b tle ss h old v a lid so fa r like wi n e an d furn itu re are c o n c e rn e d b ut i n the ca se o f r n m re a s a rti c l e s , o g a s e n ti u i is i n i se l f n o uaran e e of a ue b ut ra he r th e re e rse : for i n n in e -n in e a q ty , t , g t v l , t v ty cas e s o u t o f a hun dre d the a n tiquity o f a n o rg an is m e re ly a n e stim ate of i ts u tte r Ev e n in the c as o f th fa wo rthl e ssn e ss fo r prac tical purpo se s . e e m ous o ld E nglish b uilde rs h d f nc e un de r its b e s c o m e xion i r ua am o un s to this -tha i e n su ch a n t e e e , t pl , v t lly t t g v

4 0 D I CTION AR Y O F O RGAN STO P S . f n h hin at a v e r lo w e b b fo llo ws the hu z o u da n . h n t s tio T e , wit g y , Sc l e re n m a n hu z at D o n a with his u i an d fu tho u h a issa n ce the Ger Sc l e c ster, q et ll, g to o u r a an n a d u a D a a o n th e An o -G m an hu z at e rs , str gely i eq te, i p s s , gl er Sc l e A m an H n d u m in a n in th e m a n n flood o f o n a t n r ley d i ley, c l ti g g ifice t t e Ty e l wm u h an d a a b o adm n D . z m a d o o o ck Sch ul e e plo yed very wi e, t , l rg e re itti g n th n o th e u is a a co pi o u s s u pply of win d a t m o derate pressu re . I e te r res lt o n o f a m a n n an d n do u o fu an d h b u t in t e g re t g ifice ce sple r, p wer l weig ty ; th e h n i h n an d d a b o u d o o o na i n o treb le t e to e s t i ree y, s l tely ispr p rti te p wer t h fa the o n i n th e b ha o f a P n a n o t of o t e n o . I n te r ct, t e tre le is t t ri cip l, a Di l Th m u hu lz m a d to the E n h o an apas o n a t a l . e i pet s Sc e i p rte g lis rg b u ildi n g in dustry resu lted in a m a rked i m pro v em en t i n the wo rk o f so m e

M . Fo o f th M . Ki a n d a d n a n d e pro v in cia l ﬁrm s . essrs rtl J r i e essrs rster

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Mr . . m h D a n B a in his n hu z m ho d . o u d a o . o o t e i p s s g w rk Sc l e s et s , T C L o f Lo n do n a o a a n d o n d a b n o n fo r a o an ewis , , ls tt i e c si er le re w rtistic rg o n I n u r i m m D ia a o n o f the hu z hav t e. o o wn t e so e g o o d p s s Sc l e type e b n v M Vin n t H a i o n Sr H a i o n B n n an d o h r o d b . ee ice y essrs ce , rr s rr s , i s , t e b u The h a d v a i o f a o n o w in the o a n t ilders . writer e r se er l p pes st p rg a N e w o ha H a m a d n d to the o d o f th e n C lleg e C pel, pste (i serte r er prese t

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m i n ft b u t oo a . The h u z therefro m . Ala s I I tatio is o p r ﬂ ttery Sc l e style o f v o i n has a o le d to m v o o o du io n a k n th e n u ci g ls so e ery p r pr ct s, l c i g sple do r ’ — b u t reta in i n g th e less desirab le a ttrib u tes o f Sch u lz e s wo rk sto ps

h a a d m a n b a. ha h n din u a t h a d a n d id n c r cterise i ly y rs , g ri g q li y, r str e t in o n d v o id o f di n i n ff i n o m b in a io n an d a i o m t t e, e g ty, i e ective c t we r s e o the H av in b n u f i d i h m in o n the n e a r. du u m g ee s r e te w t e pty str g t e, pe l o f m Th e a io n u m in Opi n i o n swu n g to the o ppo site extre e . re ct c l a ted i n the u se o f hu a a n d v hi h -c u t m o u h —u n d a b f a u ge sc les ery g t s esir le e t res , b o th

a - in i Dia a o n o f all o n f r o f h m . n o n m o n n o th t e Se s ti g er g p s , t es, is, e reaso n n u n ia d a t the o m m n m n o f h a the u a h t h e c te c e ce e t t is rticle, s re p t o t e u tter d b a m n an d o u io n o f o a n o n u a n d o e se e t pr stit t rg t e, tr e pr per. The tru e

f u n o f o u in th ia m e u n o th o e v dia . s o l tio e q esti lies , c rse, Ea ch o f the two extrem es e m bodies the resu lt o f a striv in g after dig n ity an d so lidity o f “ ” o n bi o n as is o m m x v d an d a t e, g t e it s eti es e pressi ely style , i e l, s o u n d in

i f b u t i n h n a n m f a i d. tsel , t ese i st ces i per ectly re l se (4) The past fe w years hav e wit n essed i n this co u n try a wide-spread n a m n o f an b u i rev o lu tio in the t o n al dep rt e t o rg ild n g . O n e b a sic a ttrib u te ’ o f h ha n wa s a a h n d d b a f i n d o f th e a u ho t is c g e cle rly ppre e e y r e t r s, Mr. R . n P . E o an Am a n o a b u d an d a n u d o f o n w lli t, eric rg il er kee j g e t e, ho n a f ha n d th e m o im o a n n rece tly, ter vi g visite st p rt t i str u m e n ts i n this o u n d d h m f o f the fo o n a o i o m m “ c try, elivere i sel ll wi g pp s te c en ts : I was

ad to o b v a stro n te n de n c a a f o m the o a o n ha gl ser e g . y w y r c rse t e, t t had D ICTIONAR O F OR GAN STOPS Y . 4 1

m d i n a ab f o m o fu o an o a d n m n n see e sep r le r p wer l rg s, t w r s refi e e t ; a d b y n m n I do n o t m an akn b u t P refi e e t e we ess, recisely the sam e n d n to b e o b d i n the a m o f o -b o o o u i n te e cy is serve re l s ch ir y v ice pr d ct o . ’ It is a fa ct pa ten t to all that the head to n e o f a boy s vo ice far excels in pu rity a n d pervading character the o ld fa shio n ed reedy chest ton e sf The wo rk o f Schu lz e certa in ly displays wo n derful characteristics fo r its e riod On e an n o f n n v h h p t l , a h was m u h c t he p the eeli g e ert eless , t t t ere c in u f n a o na m o m n a bo -n n n m it j sti yi g the re cti ry ve e t ve oticed. O e c a a d ire th e weight a n d glo win g splendou r o f the ten o r portio n of his la rg e D a a o n an d e t o n the n d o f a u an f i p s s , y rec g ise ee gre ter p rity d refin em en t o

o n i n th e b . o f o u n o iﬁi c u n t e tre le There is, c rse, especial d lty co n ected with th e a tta i n m en t of weight an d so lidity i n the lo wer po rtion s o f a D a a on h n b o a v a re a h ha i i p s , it is w e the tre le ct es re c ed t t the to n e s too

of n a t to b o m u n du a h a d o r h . I n the i te p ec e ly we k, r s rill case o f n stru m n o f m o d a m n on a u a it e ts er te di e si s p rtic l rly, wou ld seem m o st i n adv isa ble a the ﬁu k n n h u z n to b se e wor e tirely o Sc l e li es . Th e la w o f the B na or Du a i i n N a u x n d n to o an on i ry l ty t re e te s eve rg t e. ” As ab o v so b o un the H m Ax o m . On e x m n e, el w, r s er etic i e tre e is o ly oh to b e a d a t th a o f a n . o au o o a a n o m a re lise e s criﬁce t er S , t t l gic lly, b r l b rillian cy (du e to am ple harm o n ic dev elo pm en t) c an b e secured o n ly at

the x n o f f u n da o n on . o n a x fam a i the m a v e e pe se o ti t e T l e perts , ili r w th ssi ch u rch ro ll o f the m o st esteem ed m o dern type of Diapaso n (describ ed a n an d n i n the e n se m ble of n u m n hav n h r l ter) , will i st tly iscer i str e ts i g t ei ﬁu e wo rk b ased o n the s om ewhat stri n gy a n d pyrotechn ical Schu lz e li n es k f b a h an o u m an d o f n a d o f ha dn o f o n b a la c o re dt d v l e, te eg ree r ess t e, y h r T i h z co m pa rison highly u n satisfacto ry to t e e a . o revert en t rely to Sc u l e in h a m n o f D a a o n ﬂu e work b au f o o h m of m etho ds t e tre t e t i p s , ec se, o rs t , so e

a i m o f the a io n a od b xa a d a th e e rl er exa ples re ct ry peri were, y e gg er te tre t

i n n . m n t n d d du an d n d n o , al a o ad o e , re ere ll i sipi t e is esse ti ly retr g r e p licy

“ wYo rk . s Ma r h 1 u r h Ec on om is N e I sue of c 0 . An artic e on S e e The Ch c t , , 9 4 l

- twe n ty se v e n Cathe dral org an s in Gre a t Brita in . ' v a s s as Ha rm o n ic F u e s an d‘ cle a - on e d Ge de ck s a n d th 1 The lue of such top l t r t t , e i nﬂu e n c of the o an s o s e m o e d is n ot sufﬁcie n re co n is e d in th e g e n e ral e rg t p pl y , tly g ’ v i e e d re b e s fo r i n s an c e are a t to in duce c he s o n e a n d culti v a ti o n o f b oy s o ce s ; r y t l , t , p t t , the rodu i n of u e he a d o n c e rtai n ly te nd to offe r se rious im pe dim e nt to p —ct o p r t e . n fo r s u re ss in the fac t inde e d it is b ut us to oi n o u t 1 Th e re is n o v alid re aso pp g , j t p t , tha t the re is in this country a wide spre ad te n de n c y to assig n to S chulz e u n due c re dit fo r u e s dis a e d in his wo k fe a u e s in re a i n o t s o m uc h his m an y a ppa re n tly n o v e l fea t r pl y r , t r l ty n ui din f hi h wa a iv as c o m m o n to the Ge rm an schoo l o f o rg a b l g o w ch e s re pre se n ta t e . ins ance the a u ho r has se e n con e m oran e o us wo rk b Eb e rha d To a ddu c e o n e co ncre te t , t t p y r

W ud i sb u e m b od in Dia as on s si m i a to ho se . o f S ch u z e Frie drich alc ke r, of L w g rg , y g p l r t l

u r at ha im e e s e e m e d a n ov e t . In the S chu z e re n a i ssa n ce and o th e r fe at re s he e , t t t , t l y l ,

he n we m a disce n not m e re the in ﬂue n c e of on e sin e individua a be i h e a e nius t , y r ly gl l , l t g , v n a iona scho o ho se radi ions e re his b i hri h the frui o f b ut rathe r that o f a ast t l l , w t t w rt g t, t who se lab ours his he ritage . 2 D ICTION AR F 4 Y O O RGAN STOP S .

It m b a an n o n e x m a a n the o h A fu - a d u z is erely l ci g e tre e g i st t er . ll sc le Sch l e D a a o n m a n d d dom n a an o an o h a in fl u e work bu t i p s y i ee i te rg t erwise we k , it a n do n o t b n d n o r w d the on o h k the n cert i ly es le , el t e t g et er, li e ewer type h a n m h n a u n u d i n a a o f sto p . Su c a sto p cert i ly ig t adva t geo sly b e i cl de l rg e an h a t n n o f th m d n a o rg a lready pro vided wit lea st o e Diapaso e o er v riety, “ f in o n a n d m o o fu fu a n d n d in the b . No r less ree t e re p wer l, ll refi e tre le , n d d h a n h n to h n d the m a n o f the n o f i ee , is t ere yt i g i er ki g ewer type D a a o n h id m o u h ho u x ao d n a o u m o f o n b e i p s wit w e t s, s ld e tr r i ry v l e t e h h n d d d ab . It a n n o b e to o o n n d u on a re ere esir le c t str g ly i siste p , t t t is desire fo r ab n o rm al b rillia n cy in Di apa s o n wo rk is esse n tia lly pern icio u s i n B all m a n h b e a dd o o f du u b o d na o n i ts effect . y e s let t ere ed st ps ly s r i te t e — calcu lated to i m part b rillia n cy an d splen do u r to the o rg a n an d b etter then b the m ediu m o f the i ntern a l fo u n dation wo rk o f the o r a n than b the y — g y em plo ym en t o f extern al Mi xt u re wo rk b u t on ly whe n the tru e fu n ctio n o f f r ho who th e D ia p as o n has first b een a pprehen ded an d pro v ided o . T se c rav e fo r b rillia n cy coil /e g ue come will b etter b e a b le to g ra tify their

d io n o n the o u n da b o u han b n in to hu h o a n . pre ilect s r ts , t y liste g c rc rg s (See BIA a lso TI ) . ( 5) As reg ards the scali n g o f Di a pa so n s it is im po rta n t to o b serv e that h n h a n h e m a n u a th e b a ss o f t e o rga is n o t to b e fo u n d i n t e lo west o ct ve o t l, fo r an ab n o m a u t i n the P da o a n . h is n o n d h fo b e l rg T ere ee , t ere re, y r l “ m n i th I t the a ab o io n o f the o as it trea t e t n e b ass . is pl y le p rt st p ( is x d o o n o f the o m a o m im d v iz . the n o a n d m d s et es e presse ) , , te r i le p rti s c p ss hi h b a the n u u o f the h o d h a d m a n d the a d v o w c e r cle s c r s , t t e s g re ter e el p in fu h a h m n . D a a o n o f all o u to be u d d o d e t i p s s , st ps, req ire j ge ll c r s r t er h an i n in n o in d to i a h i h o f o n a nd the t s gle tes, o r er d spl y t eir we g t t e

pro po rti o n ate b ala n ce o f th e sev era l po rtio n s of the co m pa ss .

h u z o n d d 6 in . at th e x m m fo r a a b u d n Sc l e c si ere }1 CC e tre e li it l rg e il i g , a n d a ho u h in m an his o an d id a h av b n u a d , lt g y respects w rk e ls e ee s rp sse , n m n a i n f h m v a h his co de t o o u ge b asses wo u ld see alid t t e presen t day.

Ye t in . is on a n to b e fo u n d in u m a b u d n a n d the CC, 7 , c st tly q ite s ll il i g s ,

a u ho c a n a the a o f a o m a u n a ua 8 in . at e t t r rec ll c se st p e s ri g ct lly % CC , y dim i n ishin g so rapidly that the b a ss a lm o st en tirely eclipses the m iddle

o o n o f the o m a an d the b b o m ha a n d h n . hi p rti c p ss, tre le ec es s rp t i T s a u a o f o n a in f o m the u se o f di o o o n a m a - a d l tter q lity t e , ris g r spr p rti tely s ll sc le t b a a to hav b n a h a a i o f th o f re les , ppe rs e ee especi lly c r cterist c e wo rk n h a a fa o f ll R e atu s H a i . Th e b n d d t e o n o a rr s tre le, i ee , is le st s tis ct ry p i t th e o ld E n i h b u an d wa s n ot u n m od n E n h u g l s ilders, it til er glis b ilders a do d the i n m o f a in in a u u a d b o f in pte sc e tiﬁc syste sc l g g r te y T p er, pre “ ” f n to the ad o n a m i i a u o f h u m b m ho d ha u ere ce tr iti l e p r c l r le t et s , t t p rity a n d pro po rtio n a te ba lan ce o f to n e were secu red fo r this po rtio n o f the

c o m pa ss . (6) Ye t an o ther detail requ iring con sideration is the height to which the D I T A C ION RY O F ORGAN STOPS . 4 3 m o n ths o f D a a o n h u c Wa v n the a o i p s pipes s o ld b e ut up. i i g lt gether d n u o n o f the a n w f F u n b fo u n d isti ct q esti c rryi g po er o pu re l te to e, it will e “ tha t n o thi ng is m o re detri m e n tal to tha t o f Dia pas on to n e tha n carv i n g — — u a s i t h as x v n b n du b b d. p, e pressi ely the m o re so becau se i n n o ce tly ee e The pra ctice in qu estio n si m ply en ta ils the elim i n ati on o f the n a tu ra l o v o n u o n the n o m a v m n f h h d n d a m o ert es , p r l de elo p e t o w ic epe s l st

e e n tirely th ri ng an d carryi n g po wer o f D iapas o n a n d a nalog o u s to n es . “ ” N o hin o u d b i h h n d i n the e m o fa a . u n n o o n th e o a t g c l re t l T g sl ts, t er , a o f fo u n da o n o f a n u a a —u n c se ti w rk, pipes o n o very tte ted sc le less in deed v ery wide o r well withi n the dista n ce o f o ne dia m eter fro m the to p

o f the in h h a the ff ar m o o r s n e u traliz e d hav e pipe ( w ic c ses e ects e re les ), th ff f n k i h u se e e ect o co sidera bly wea e n ng the g ro u n d to n e . T eir g ives i to the o du i o n o f a ha d a n d ho n ua d a d i n the r se pr ct r r y q lity, ispl ye

D i a a o n o f C a va illé - o who o d a ll o n m e a i n the o an p s s C ll ( sl tte pe t l pipes rg , Mi x u in u d d and o h F n h b u d a n d in m a n o f ho o f t res cl e ) , t er re c il ers , y t se W i h “ ” . a n as as b n a m d the a fa a b n d illis Cert ly, ee cl i e , pr ctice cilit tes le o f a o b u t fo r the im a o n ha a m o v the ( s rt) , s ple re s t t it l rgely re es b i Mo o f n i f n n o strepero u s fo u n dat o n to n e . st pe ple pre er dig ty a n d o u datio “ ” h u f n u h n h n i n o a n o n . An o o a a d b o n a d rg t e t er res lt c rvi g p, w e r l wi g

b i - a d ba are o d to is a a u a d a n b o i o u g sc le sses res rte , p rtic l rly istr cti g ster s an b u n u a o f o n the n d n o f o so a n i n d l steri g q lity t e, wi i ess st ps tre ted bei g i w m a n a ib a t o m d a n f o m the o an . No it has y c ses percept le s e st ce r rg , u n reserv edly been adm itted that there are certai n hig her disso nan t ha m o n h h ho d ab h m a b e i n the Ga m b a a re r ics , w ic , wever esir le t ey y , in im a to the o du o n o f u D ia a o n o n a n d a re o n f r ic l pr cti tr e p s t e, resp sible o

th h a d n u a so f u n n o u n d. u h h a e r , stri gy q lity req e tly e c tere S c rm o n ics are n o u a d b lo w hin i an d the u u a m ho d o f m n n e c r g e y t l ps, s l et eli i ati g h m is the o o f u i n u a o h h u n fo u n a t e pr cess c tt g p, pr cess w ic , rt tely, co nj o i n tly en ta ils the a b sen ce o f an y j u st pro po rtio n o f the lo wer

h v f h . hi h m h a m o n c . It t e o a a to the o n v u r i s is ct e , twel t , etc , w c i p rt t e ig o r, “ m n e s n n o n o n i u n wha o m im m fir s a d defi iti , c st t ti g t is s et es ter ed the tru e ” b u d a io u o n z n h a a n in . o m t e Di p so r g S e il ers, perspic c sly rec g i i g im po rt h o ha m on fin d h m v o n a n d a n ce o f t ese l wer r ics , t e sel es c str i e to ado pt lo w

m ou ths with their atten da n t disadv an tag es . The pro blem o f preserv i ng th e o a a ho u au n o o n din a n ua o n o f the h h l wer p rti ls, wit t c si g c rresp g cce t ti ig er, “ m u fu b e o d w ho u an u n du u n u ay s ccess lly s lve , it t y e c tti g p, by the We hav h e m plo ym en t o f a thick sm oo th lip . e ere o n e o f the m o st h i m po rtan t pro cesses o f m o dern vo ici n g . T e thick lip is produ ctive o f a

f o n b o h fu a nd i h a n d n d an d m o o h x qu ality o t e t ll we g ty, reﬁ e s t , e tra in a ff in o m b n a o n an d ho u h o d o f a a n o rd rily e ective c i ti , , t g p ssesse g re t c rryi g * ff o in n o n a o m . It a o d i the am fu p wer, yet se se we ris e r s prec sely s e ll

This is o f cou rse whe n o e rl re a e d. It is ossib e to e xa e a e e i h i , , pr p y t t p l g g r t w g t n ia n o rg a n ton e just as m uc h as b rill cy. D I TIO N AR F R 44 C Y O O GAN STO P S . perv adi n g t o n e which is s o cha ra cteristic o f the Dia pa so n s o f Fa ther

m h in fa r a v o u . S it , yet gre ter l m e Ye t a n o h a ib u o f D a a o n so a d h h n d s t er ttr te i p s s tre te , w ic re er h m ia a uab i n m a b u i d n h a cil e t e espec lly v l le s ll l i gs, is t eir f h n f f o m ha Wh h is so o f n speec , e tirely ree r t t spit ic te o bjectio n a bly pro m i n en t in D iapa so n s o f the o ld style at c lo se “ " I n u h b u din h a o m a u a a h d a quarters . s c il gs t ey ls i p rt q ite c t e r l I h ro ll to the to n e . t wo u ld be po ssible to e m plo y a very t ick

m a i h a b u n h d n a d o f b v d d b u t in et l lip w t r is e i ste e elle e g e, a ctu al practice it is fo u n d m o re satisfa cto ry a n d co n v en ien t to

co v er a b u rn ished lip o f fair thickn ess with a strip o f lea ther. The a h a d o u n d th e li a ho di a n u the le t er is p sse r p, s rt st ce p o n a h id b n n d d a dh b u d ﬁs h u e pipe e c s e, ei g re ere esive y liq i gl ” r n P o v d d the m a b e o u h n d i h a o Secco ti e . r i e et l r g e e w t ﬁle, the a h m a b e a a h d i h o din a u b u t as th e le t er y tt c e w t r ry gl e,

a is a t to a i h a e hi m ho d b a v o d d. l tter p cr ck w t g , t s et is est i e I t ha to n o ha the so f n o f the a h r is , per ps , well te t t t ess le t e affects the to n e in n o apprecia b le m a n n er it is the thickn ess

f th e hi h is the m o a n fa o . H o hlﬂ ute s a n d o h o lip w c i p rt t ct r , t er o n o o d n F u a re o m m m a d i h h k pe w e l tes , s eti es e w t t ic lips co v ered with v ery thi n lea ther o r ca rtridg e p aper to i m pa rt

o o h n a n d n i h . Mr. E n k n n a n m n n t sm t ess ﬁ s r est S i er, e i e Am i a n o a n b u i d n the d ov o f th e a h d er c rg l er, like s isc ery le t ere to th e n v n io n b B a o f the P n u m a i L lip i e t y rker e t c ev er, predicti n g tha t it will rev o l u tio n iz e o rg a n to n e a s su rely an d m a m h n co pletely a s did th e l tter o rga n ec a n ism . A esti m ate hi h n m a n so xa a d as m h w c is b y o e s e gger te ig t b e s u ppo sed.

The a h d D a a o n i n d d n o w a ain n a z n i le t ere i p s , ee , is tt i g e th o f

po pu la rity b o th in En g lan d a n d Am erica . A pro m i n en t ’ m a n b u d a o who o n the au ho o m m n i Ger il er ls , t r s rec e da t o n

m a a o f was so u h th e n d ua i f n de tri l it, str ck wit reﬁ e q l ty o to e tha t h e fo rthwith sig n iﬁed his in ten tio n o f ado pti n g the A fe w i o a d a n d u n u fu x i pro cess . s l te s ccess l e per m e n ta l

m at m o v n th e o n o f the i b o a n h Le athe re d atte pts i pr i g t e p pes y c ti g t eir D ia as p on li h a a h m n f a n d kin d d u b a n hav e p wit p per, p rc e t, elt, re s st ces , ( Di a pa so n b n o d d b u t u n do u b d the di o f h av n b n P ho n o n ) ee rec r e , te ly cre t i g ee sh o wi n g the first to perceiv e th e v al u e a n d i n n er sig n ifican ce o f the l e a he re d t - m u b e a o d d to Mr. Ro b H o pro cess st cc r e ert pe J o n es . It wa s l ip . o n ly at the co st o f co n sidera b le tho u ght a n d lab ou r that he was a ble to dev elo p his cru de an d em b ryo n ic scien tific theo ry i n to a i h d fa to a n fo m m o d n o an b u i din Th pro cess wh c b i s ir tr s r er rg l g . e n a m es

f a a i - o an d G o Wi an d o f H o - o n w o C v lle C ll e rg e llis, pe J es, ill b e ha n ded do wn to po sterity as the au thors o f the m o st va l u ab le i m pro v em en ts in the D ICTION AR F R GAN STOP Y O O S . 45 do m a n o f d- o in an d ﬂ u e - o n v h h ha b n i s ree v ic g v ici g , respecti ely, w ic ve ee

n d in the n r n wit esse prese t e a o f o rg an b u ildi g . ( 7) It is a cardi n al prin ciple o f m odern o rg an desig n ing that as m u ch v ariety sho u ld b e in tro du ced b etween sto ps o f n ear relation to each o ther * as o n i n h The m a a a o n o f hi is c s ste t wit g o od to na l blen d. pri ry pplic ti t s prin ciple dem a n ds the co m plete differen tia tio n of the severa l Dia paso n s which m ay o ccu r on the Great o rgan its seco n dary a pplica tio n that s o m e

d n o n b e n fo d b n th e a a n d ho i D a a o n . isti cti e rce etwee Gre t, Swell, C r i p s s In desig n i n g an o rg an with fo u r Dia pas on s on the Great o rg an it wo u ld b e sheer wa ste o f g o od m a terial to m ake all these D ia paso n s of sim ilar “ ” u a . N o t o n m a h at n n o u a ut a o o d n q lity ly is sy p t y o ce e c r g ed, b , ls , g l e o o u n i i n the wa o f ff o n a an d in n a m o u d n pp rt ties y e ective c tr st , scie tiﬁc lly l i g h h t e a a of the n a e n se m ole are n n o d. It n o c r cter g e er l , se selessly ig re is xa a ion to a ha in th e ab o n a n u i o n e - h d o f th e e gg er t st te t t, ve i st ce, q te t ir m f n vo lu e o to e wo u ld b e lo st by the wea risom e iterati o n o f ton e co lo u r . As in a n in so i n o a n o n th e m o ff i v u are ho o f p i t g , rg t e, st e ect e res lts t se

o n a . The D a a o n h n m i h b e o f a a a n d o fu c tr st ﬁrst i p s , t e , g t l rg e sc le p wer l o n a h d the on d of the a hu z the h d o f t e, le t ere ; sec , l rg e Sc l e type ; t ir ,

’ m u m a an d o a h d th f u h o f the u ca n fa bzle edi sc le p wer, le t ere e o rt , q iet r a AMBA u h a om b n a io n i h a F u H ill o Green type ( see lso G ) . S c c i t w t l te o f th e Tibia fa m ily wo uld produ ce a n im m en se v ol u m e of dig n iﬁed chu rch

n hi h o u d ad v n o o k a n d a n n o f the a b u din . to e, w c w l perv e e ery cr y l rgest il g “ ” I is f o u n a to the a v o idan o f m a h to a the t , o c rse, esse ti l ce sy p t y, sc le i n ff n an d to e a a h m f o m a h o h vario u s D apas o s di ere tly, s p r te t e r e c t er on the so u n db oard. 8 On the l the o d na D a a o n h a a o u o f a s ( ) Swel , r i ry i p s is , per ps, s rce in h an It is a t t v i m u ch trou ble a s a n y sto p t e o rg . p o de elo p n to a ki n d o f n D u an a o f o b ctio n a b u a i an d to n is o n d a l ho r y lci , je le q l ty, its e c si er b y

m d b the o x m o f the b o x id . Fo r h a o n to i pede y pr i ity swell s es t ese re s s, m n o f the i n n a the ﬂ u e fou n da on has u ff the detri e t Swell g e er l, ti s ered

a b the ub u ion o f a G n o r o m u h o . The fu gre tly y s stit t eig e , s e s c st p ll ton ed lea thered D ia pa so n is the m o st effective fo u n datio n sto p po ssib le It a u a u b to th e cresce n do o n o n n in the Swell . is p rtic l rly s scepti le ; pe i g m m n f o o f u m o o n b a n the shu tters an i e se lo d p re ell w t e is li er ted, to e

m n a o n do m u h to v the ff o f m o n o o n which i n co bi ti , es c relie e e ect t y , — res u lti n g from u n du e prom in en ce of reed to n e in the Swell Swell “ - i h a m a n n xa sau sag e fryin g a s the cyn ics n am e t. T ere is g iﬁce t e m ple n n in the a t Bu o n -o n - n P a h hu h N o m a n o n 1 0 i . wi d Swell rt Tre t ris C rc ( r

- W h the l ouvre: o d the was f n . o b B ea rd a n d H o pe Jo es) it cl se , writer rci ly

i n Mode n O an ui din . I I an d 12 for th e e ab o ra ion S e e Ton a l D e sig n r rg B l g , pp , l t i o f this po n t .

‘ o f e a he re d Dia aso n us a s of un a h The e a re o f c o urse , v a io us e s p , j e e e d. 1 r , r typ l t t l t r 6 D I TION AR r R AN r p 4 C Y o O G s o s.

m ind d f h n n n f th o ld E n i h D a ason . I t m a re e o t e si gi g to e o e gl s i p s y, i n d d u hfu m ha th e a h d D a a o n has hab a d ee , tr t lly b e clai ed t t le t ere i p s re ilit te th - Th a n was n so to ak an e o a n ﬂu o . e o Swell rg e w rk Swell rg ever, spe , - I was m the o ld E ho i n depen den t o r self co n tain ed i n ve n tio n . t erely c o a n n d d x a n d its o na h m o v d a d u n rg re ere e pressive, t l sc e e ev l e t r ily til Cav a ille-Co ll an d Willis su dden ly tra n sfo rm ed it with their im pro ved

d- k The n an o f h l b e a a n h n a d ree wo r . sig iﬁc ce t is wi l pp re t w e it is re lise

ha the ﬂu - m a n d a a h o - o the d h all th t t e wo rk re i e pr ctic lly ec w rk , ree s, wit e di a dv a n a ab o v -n o d b o m n the fu n da m n a b a o f the s t ge e te , ec i g e t l sis Swell

- o a n . t wa n r n a m fo a h D a a o rg I s o t u n til M . H o pe Jo es c e rw rd wit his i p s n P ho n o n a n d Tib ia Clau sa tha t the reed- wo rk o f Willis recei v ed its o m m n a ﬂu e - o a n d ha the n a o n o f the o an c ple e t ry w rk, t t rege er ti Swell rg , whereby it was o n ce ag ai n esta b lished o n a n equ ita ble b asis for fu tu re

d v o m n was a o m i h d. e el p e t, cc pl s e ( 9) The lea thered lip is a m o st v alu ab le m ean s fo r the i m pro v e m en t of l As a o i n an f u h a m n m i o d pipes . g o d st ce o s c tre t e t ay b e c ted the case o f the o ld Byﬁe ld a n d H arris D ia pas o n s o n the Cho ir o rgan o f N o rwich “ a h d a N o m a n B a d . An o b io n ab o o f b uz z n C t e r l ( r e r ) ject le s rt i g , a u d b the a h o a n d lan u ids o f h o was c c se y str ig t l wer lips g t ese st ps , o m le te l m di d b a h n h i u i h b m a n p y re e e y le t eri g t e r pper l ps , t ere y i p rti g the “ u d. The a u ho h as h a d m an o ld o D a a req isite spee t r e r y st ps, i p so n s, G i n a n d F u m am o h o d m b h m a m e ge s l tes , et rp se erely y t is si ple tre t en t . N in a d in d u n a d h o u h u h is 0 cre se w press re is e t ile , t g s c readily adaptable witho u t co a rsen ess o f to n e en su i n g . ( ro ) Sp o tted m eta l is n o t fav o u ra ble to the pro du ction o f the b est qua lity o f D a a o n o n u n in d d o f u h hi n ha i p s t e, less ee s c t ck ess t t its distin ctive

o are o . D a a o n u to be m a d m pr perties l st i p s pipes req ire e o st s u b sta n tially. Wh n o n du e hi kn is a u d h o u d m t e ce t c ess ss re , t ere w l see o b e little objecti o n o n the o of du ab i an d ai n n o n f o m th e o na o n f i sc re r lity, cert ly e r t l p i t o v ew, to the u se o f a n allo y co n tain in g less tin than sho u ld b e cu sto m a rily f W m o d o r o f m av a u an . e pl ye , pipes erely er ge s b st ce hen strict eco n o m y is n o t n a to b e d i d ha D a a o n b a b e m ad o f h esse ti l, it is es re t t i p s sses e t ick heavy

m a . Z in a s a m a a fo r b a b a a o et l c, teri l sses, e rs w rse n a m e tha n ev er it d v m f o m the fa ha z n an d th eser es , si ply r ct t t i c pipes e m eta l lips a re seldo m

m ad hi k n o u h . O n e fam o u b u i d n d d h as h a a e t c e g s l er, i ee , c r cteriz ed z in c as a n x n m a ia fo r him n o b u t u fo r o an i A e celle t ter l c ey p ts, seless rg p pes . ltho ugh a z n b a c a n n v u h a fu i h a n d v a d n i c ss e er give s c ll, r c per i g to n e a s a very h k m a o n e the u se o f z n m u u n u n a t ic et l , i c st q esti o bly b e perm itted as a f n a hi a n w m a m atter o eco o m y. A re lly t ck d ell de z in c b a ss is q u ite as o a s a n d o b ab m o ff i han a m a o n e o f t c stly , pr ly re e ect ve t , et l he deg ree o f The o f m a thickn ess o rdi n arily ado pted. c st o et l ba sses o f co n side ra b le u b a n to o o h bi v to a a n h i ha b i u a u s st ce is pr i ti e w rr t t e r t l s e . I t will s u rely b e adm itted that the e m plo ym en t o f a z i n c D iapa s o n b ass is a m o re

8 D ICTIO N AR o r R GAN 4 Y O S TOP S .

* m f n h i Mr. L fu n h th fo o n circu ere ce o f t e p pe . T . C . ewis r is es e ll wi g

m easu rem en ts as tho se o f his ideal stan da rd Dia pas o n pipe : Mid. C, 5 3 " 2 i n diam Mou h u m f n c u t u an d zi e n 31 6 . eter ; t , circ ere ce, p 37 ( 1 ” 7 i B a n — —in W n i Pi n o d d u n . h 2 6 g ) ; re 1 5 1 5 ) ; i press re, 3}1 ; tc , 7; ° b a o n at 60 Fah . The f o m n o u a d o f a D a a o n vi r ti s r pipes, r te r C pw r s, i p s

o f o din a ub an h a b o u 8 0 o r l s h o o f a m a n r ry s st ce, weig t 90 b ; t se Ger

D a a on a o hi h a m o in v a ab m ad o f tin ab o u 66 lb s. i p s ( st p w c is l st ri ly e ) , t h a ho o f th e m o d n a h d D a a o n m ad o f the h av w ere s t se er le t ere i p s , e e y “ ” a m a hi h n o wb n u d b v a b u d h n a speci l et l , w c is ei g se y se er l il ers w e gre t — d h an v o u m o f on is d i d i h a u 1 0 1 0 lb s . It ept d l e t e es re , we g ct ally 3 5 is n o t po ssible to o b ta i n the tru e m a ssive Diapa so n ro ll fro m pipes o f an y If an o d n a b i u n th m d h less weight . r i ry p ipe e g r pped ro d e id le w ilst k n n m o i b a a o e i to th han . A a spe i g , str g tre r w ll percept ble e d gre t “ ” dea l o f en ergy is b ei ng wa sted b y tra n s m ission thro u gh th e walls o r It o n b m a n th uf n u to b o dy o f the pipe . is ly y ki g e pipes s ﬁcie tly sto t withstan d this v ibratio n th a t th e requ isite plen itu de o f to n e c an b e secured

in a D a a o n . Dia a o n o f hi are o f o u o b u t h l rge i p s s p s s t s type , c rse, c stly t eir m m n u i h It n o t u fﬁ n a d effect is fu lly co e s rate w th t eir co st . is s cie tly re lise ha the n a d n d u h h h av o m n o u se du n the t t i cre se wi press res , w ic e c e i t ri g

a fe w a d m a n d o o n d n in a in th e h n o f . p st ye rs , e c rresp i g cre se t ick ess pipes — f a o 1 6 ft. D i a p a s o n P h o n o n 8 t. ls i n a H o - o n to the a h d The n a m e o r g i ally pplied b y Mr. pe j es le t ere D IAPAS ON io n 6 a n The n am m h e Di a pas on (see , sect s d e ig t well b

n f r hi o h n in the o a n o n u n as do retai ed o t s st p w e Swell rg , c stit ti g , it es, f m h in a D a n The D a a o n su ch a wide departu re ro t e o rd ry Swell i pas o . i p s

n n n th e G a o an a t o o n H a B o N o m an B a d P h o o o re t rg C lst ll , rist l ( r e r ) , D a a o n a d i h on a o i n the fo m o f v a t is a la rge i p s tre te w t res t rs , r slee es

i Th e o ak o n a I O in . in d. I n th e top o f the p pes . st p spe s w Lu k Mo n a b H o - o n 8: H a i o n P a hu h St . e, tcl ir, y pe j es rr s ; rk C rc ,

F P b an hu h Mo n a L n N . Y. u h a Elm ira , irst res yteri C rc , tcl ir, t er

. R m a n a ho hu r h P v i n b h L b an o n Pa o o d R . I . Chu rc , e , C t lic C c , r e ce, , y - F r I H o n . o u a o n D AP A N . n a n o . an d o S O Au sti Org C , pe J es ill str ti , see

- d) h . Dia o c to n are; thro u g h . (ixr eig t - 1 The n a m i v n to the o av o u b II o lditc h w o a a ( ) e g e ct e c pler y , h ppe rs n t hav n n d ho u h o n o f o u a f i n de pen de tly o e i ve te it, t g l g , c rse, ter its ﬁrst

m n in I a an d u b u n to n o du io n a t . am em plo y e t t ly, s seq e t its i tr ct St J es, W B o l m h 2 A 1 6 ft. da o a h n on m rist , (S it , ( ) pe l st p ( s i gt Te ple,

Maj o r B a ss . — n e d GED ECK r. D i a p a s o , S t o p p See

n a /re . Dia pe n te 3rd thro u gh . h ﬁve

“ A P ro te s e tc . . . t, , p 5 D I I N R R CT O A Y OF O GAN STOPS . 49

D i h Th a n a o n a h o u h a un d. e a o p e Bli t r g . p w/j so pplic ti

o f th 2 ft. e etym o logy of this wo rd is som ewhat in de ﬁ n ite . 3

16 ft. 8 ft.

It f u n ha n in o an bu i din h n u i on d on req e tly ppe s rg l g , w e the req site c iti s a re fo u ou o m l d ha a a om m n to b a rt it sly c p ie with , t t p llet will c e ce vi r te ’ a d an n an r pi ly, d it is often within th e pro v i n ce o f an o rga ist s o r o rg ’ “ ” b u d o b a o n ha u h a u in a or a m u an in a il er s serv ti t t s c ﬂ tter g p llet, Tre l t s a o f a d v b a i n n o v i na i n the fo m o f a t te r pi i r t o , whe pr ided w th a reso to r r

o u n dboa d o r n d un n a o n f n d ab o . s r wi tr k, g e er tes t es o co si er le p wer The a f a v o f a Wha m u a s ety v l es ste m b oa ts co n sta n tly act si m ilarly. t st h ve n h n m a o n to hav b ee a p e o en al i n sta n ce o f this is reco rded by Mr. C ss e b n n v a A a h a h n to use his d a a o at . a d ee wit esse se er l ye rs g St s ph C t e r l, w e ( “ o d a u a m n do u a a n the b u d n b the w r s) the p llet set p tre e s ro r, t ki g il i g y ” Th a m u scr uff of the n eck an d shaki ng it as a terrier do es a rat. e ide st dou b h av o u d to m an b u i d as did to him ha u tless e cc rre y l ers, it , t t s ch na m h An x m n a phen o m e ig t system a tica lly b e ada pted to to na l use . e peri e t l h B a a ttem pt at su c ada ptation was m ade in 188 8 by Messrs . l ckett w n of N a . bu k o f the a a a u m o d as H o wde , ewc stle The l pp r t s e pl ye

x . Wi n a n o a n o d in a b o 1 in s ua fo r the 1 6 ft. n o d d e cl se ( 5 sq re te) . p sse i t ch am b er co n ta i n i n g a vi brato r in the fo rm of a circular disc ﬁxed o n to the l e n d o f a in and so a an d as to b a a a n a ho in the oo se spr g , rr ge e t g i st le d o f th e ona o b n u a d in i h an d n n b a u n der si e res t r, ei g reg l te p tc i te sity y n - sliding b ridg e a d set screw. I n o rder to eco n o m iz e spa ce th e b o x was div ided in to c o m r i artm e n ts h h fu h a ion d n o a h an n . p , w ic were rt er p t t e i t spir l c els The b o re o f th e cha n n els con stan tly i n crease d an d the appara tu s was sur a h B u n n f th m o un ted by s o rt b ell . y s dry m odiﬁcatio s o e scalin g a nd u an d b ad u m n the b a n wi nd press re, y the j st e t o f vi r ti g disc, it was fou nd po ssible to secure several distin ct varieties o f to n e quality and

deg rees o f p o wer . The credit o f ﬁrst tra n sfo rm i n g su ch rawideas in to a pra ctical fo rm o f

u h he n am d the D a ho n m u o v b e a pparat s, w ich e i p e, st, h we er, ascribed to

~ - R b H o on . In 18 he n n d al a Mr. o ert pe es 93 5 i ve te sever v rieties o f * b o d n m u an t o r m -b o n h n m o o . Diap o e, e yi g the Tre l t r ell ws pri ciple The - ﬁrst organ to which the ne w in v en tio n was applied was the m ag n iﬁce n t n b u i b H o - o n E an o i W i n stru m e t , lt y the pe J es lectric Org C n o rcester

n n two D a h n f 2 ft. a n Cathedral co n tai i g i p o es o 3 d 1 6 ft. pitch

a n o n a u o f ab ou 2 2 in . The two in respectively, spe ki g press re t stops

u on a re o f o n d ab o ho u h n ot u a i n on . q esti c si er le p wer, t g very reg l r t e I n the succeedin g year two m o re D ia phon es of sim ilar co n structio n were

Partic u lars a n d illustratio ns o f the se we re publishe d in a se rie s o f article s in the . ” ondon Music al Ne s an . to Ma 0 18 6 . L w , J 4 y 3 , 9 50 DICTIONARY o r ORGAN srors.

Mc Ewan H a l in serted in the organ b u ilt by the sam e ﬁrm for the l ,

- ' ul a o n n in E n u . o a h o u h a m di b rgh The 3 2 ft. st p spe ks t r g se i circ r pe i g he the f B m a d d a dv an o n a xam . T ro o . oth ark deci e ce the e rlier e ples

— v a a Fig . A Biv al ul r Di ph one . DICTIONAR OF OR ’ Y GAN STOPS. 5 ab ov e sto ps are all o f the b ivalv ular l u a d in Fi type i l str te g . A.

M a m o o - is t r, to the tail piece of which is atta ched a rod b eari n g the o m ou n d an d n al v ' c p spri g v ves v, , o n a ' a n n S . w rki g g i st the spri g s S, On h t e adm issio n of win d (under pressu re) to th e b o x A the m , o to r M is cau sed to ol a s a n h c l p e, d t ereb y to o pen the a v V ' W n v lves , . i d then ru shes i n to the ha m b B an d n n th e i n c er , , e teri g te rio r o f m o to r M through the pa ssag e u a z th c , eq li es e pressure on the m o to r. The actio n o f the spri ngs n o w serv es to o the al v ' an d to o n cl se v ves v, , pe o ut the m o o M h u n the ro t r , w ere po p i cess s repea ted. Fi B u a a i m i n fa g ill str tes s pler, ct

h e o n a fo m f m u a n D i t rigi l , r o Tre l t a h n N am p o e . o ex ples have a ctu ally

b n u d in o an in h o u n ee se rg s t is c try, b u t this pa rticu la r form of Dia ph o n e is very s u ccessfu lly u sed by Vo it of

Du a h G m an as a l rl c , er y, the so le ped sto p (D ia pho n ic B a sso on ) i n his sm a ll ’ ’ tr co m pa ct o rg an s . The ra i son d e e o f this so m ewhat singu lar ton al dis po sitio n is to b e fou n d in the hig h efﬁcien cy o f this sto p on a low wi n d

u . A m n a n o n press re speci e , spe ki g

i n u . o a pressu re o f 1 00 m m (4 . ) cc rs a Lu xe m b o u u h 1 0 2 de t rg Ch rc ( 9 , sig n ed ih The a cti on o f the i Dia pho n e sho wn n Fig . B will be explai n ed b y referen ce to the de sc rip

F A. The a fa o tion o f ig . s tis ct ry

in an d th e on u a d n d work g , t e q lity, epe greatly o n the adju stm en t o f the h s s n m i b e at spri ng 5. T i pri g ght th a m a to o n e tac he d to e v lve, si il rly B. Fig .

f he n ho n in Fi . A o n o t spri g s s w g Diaphonic Vi lo e o r Bassoo n. 52 D i c TIONAR Y OF ORGAN STO PS .

A differen t type of Diaphon e is re pre

i . Its s en ted by F g . C to n e is sa id to par take of the n a tu re o f a sm ooth Dia pa so n or m o d was Fl ute . A el H exhibitedby Mr. o pe Io nes at a lect u re i n 1 8 W n d n a t 95. i e ters f a the the oo t A, ch rg es a n d a cha m ber c , cts upon the b a ck o f i n u h the m o to r M, s c a m an n er tha t this In la tter is co lla psed. co lla psin g it m o v es ( thro ugh the m edi u m o f the thon g o r ﬂat chai n B) the ro ller v V hu a o n val e , t s ll wi g the win d i n the cham b e rc to escape thro u gh E into the res o n a to r o r P W n a in pipe . i d, p ss g o u h th ha n n thr g e c el L, a cts u po n the i n side o f the m o to r M in su ch a m an n er tha t th e pressu re o n the in side a nd the o u t side o f the m o to r is a an n th e b l ced, a d spri ng 5 is a t lib erty to close th e ro ller a a a n The v lve v g i . cyclic pro cess is re e ate h u a p d. T e partic l r fu n ction o f th e ro ller valve in o rgan wo rk is

— - to adm n d ra du Fi . Ro e Va v ia o g C ll r l e D ph ne . it wi g a I lly . t is so m etim es h u o in b o o h a udd n f u h f n t is p rp se ell ws w rk, w ere s e l s o wi d D I TI N C O AR Y OF OR GAN STO PS . 53 is n o t d I t o f Dia ho n esired. will b e seen tha t in this type p e the

a v u a m o m n u n h n f the d n a n v l l r ve e t is less s dde t a that o prece i g p tter s . The m oo h the a o n o f the a m o o h the o n u a i s t er cti v lve, the s t er t e q l ty

n a d. If o n the o n a th a b a fo b o n a the g e er te , c tr ry, e v lve e t rci ly its se t, r u an on i be o u h an a h Ro -Va D a ho n es lt t t e w ll r g d co rse. T is ller lve i p e is h ere described m a in ly o n a cco u n t o f its theo retical in terest ; it is scarcely f m a o r adapted to pra ctical u se . I n the ab o v e Dia phon es the quality an d po wer o f th e to n e c a n b e co n tro lled withi n lim its by the ha an d S i z o f the o n a o the n o n o f the s pe e res t rs, te si

n . B the u u n f n d a spri g s, etc y s b stit tio o cyli ric l

o n a o a n o n ha b n o b a n d. res t rs, Cl ri et t es ve ee t i e Their sa tis facto ry to n a l effect is very depen den t o n m h io u the s u pplen ess o f th e v a lv e. A so ew a t ser s o bjectio n to which all these fo rm s o f Dia ph on e a re k i i I t b e d n O pen is their la c o f du ra b l ty. will evi e t ha the a a n d a o f m o o v b a n i n he t t we r te r t rs i r ti g , t f h h n o a at th e u c a se o ig tes especi lly, req isite

a di m u b e a . O n the o h han d r pi ty, st very g re t t er , n o sin g le n o te is ever i n co n ti n u o u s m o tio n fo r a io d o f m a n d o m a pro tr cted per ti e, were s e m echa n ism to b e i n v en ted fo r co m pu ting the n u m b er o f m in u tes i n a t e a r tha t a D iapho n e

w i n a io n the n u m b in di a d o u d pipe a s ct , er c te w l pro bab ly b e fo u n d to b e sm a ll I t is b u t fa ir to o b serve tha t th e D ia pho n es at Wo rcester an d h f d to ab ove a ho u h o b a b Edi n b urg , re erre , lt g pr ly o m ha d a d are l in x n o in s ew t ec ye , sti l e celle t w rk g M o v a m a o f n o v a o rder. o re er, it is tter ery g re t

- difﬁcu lty to repla ce wo rn ou t m o to rs . H - o n a n d a n m o v d I n 1 89 7 Mr. o pe J es p te te i pr e o f D a ho n n o n as the D ia ho n c variety i p e, k w p i “ ” n o r o m m a s the a v u a d. I n H o r , s eti es v l l r ree o d n d h th e it the m o to r b ell ws is ispe se wit , vibra ting pallet o r disc b ei n g ca rried on the free n It hu a a o f b a n e n d o f a spri g . is t s v riety e ti g he o n u io n o f hi fo m o f D a ho n reed. T c str ct t s r i p e i D The F . will b e expla i n ed by referen ce to g . m ad o f a u m n u m a a b m a spri n g 5 is e l i i , pli le et l f h rea dily adm itting the co rrect a dj u st m en t o t e

disc in rela tio n to the blo ck ag ain st which it b ea ts .

Wh a the m u a n Dia ho n are u n d b “ ere s Tre l t p es t e y —Val v u l ar Re e d Fig . D h n ic i the a u a d o or D ia o Horn . the reso n a to r o r p pe, v lv l r ree is pr perly p R 54 DICTION A Y or ORGAN STOP S .

la a h All D a on in tun ed by the spring an d reg u ted t t e pipe . the i ph es m n o n d are of a u a d h oun a o ab o , l t is c try, s ve th se ve e ti e the v lv r ree n hon adm of a a on of nd u ou patter . No pipe Diap es it v ri ti wi press re with t a co rrespon di ng deﬂection of pitch .

A rem arkably su ccessfu l D iapho n e ( Diapho n ic H orn ) o ccu rs at St .

f h a a d n to P da o an . l m n I fo d. I n 16 t. dd g C e e t, l r pitc it s g re t ig ity the e l r h m b a v o fu fu an d On the m an ual in 8 ft. pitc it rese les ery p wer l, ll rich n o H o n D a a on b d i h th e D a a on lf an x l , r i p s , esi e wh c i p s , itse e cel e t st p a The au h o a o a d a a u a ﬁn e co n trasts m o st un favou r b ly. t r ls he r p rtic l rly

m - - n P a h hu h m b n on da a exa ple at B u rton o n Tre t ris C rc , rese li g , the pe l ,

- n the m an ua po werfu l Tro m b o n e b len ded with a fu ll to n ed Dia pa so n . O l n ff v h h u a h a re a i n 8 ft. pitch it com b i ed e ecti ely wit t e T b . T ere sever l

o xam o f a n m di d o u h ou ou n . ther e ples, v ryi g erit , sperse thr g t the c try There i s also an excellen t specim en o n th e pedal o rg an at Colsto n

H a B i o No m an B a d a n d o n 1 8 in . n d a n d the ll, r st l ( r e r ) ; it st s wi , s m u h a s 2 0 i n i n d am As a do u b CCC pipe m easu res a c . i eter . le

h f r n n I n 8 ft. th e m an ua l Diapho n e is to o weig ty o the o rdi ary o rga . h i n a a u It an n o be a d u pitc t is at prese t pr ctic lly seless . c t c rrie p

b on d ab ou Mi . E as the a b o m to o m a an d d a ey t d , v lves ec e s ll elic te ; it is fu fl It n ot a a of th e re fore e xte n de d in po wer l u e leathered pipes . is cl ss ton e which o rdinarily b le nds sa tisfa cto rily with the rest of the m an u al o ho x n m a b e as a o f r n ua u r f r w rk , wever e celle t it y st p o i divid l se , o o add n o u m of on a a n As a a ou d i g v l e t e to very l rge o rg s . ped l stop it w l m to n a o b i m a n a n an see prese t gre ter p ssi il ties, i p rti g g re t rich ess d b ody to a P da o an a ad o ab o m in o n a u u an d i n an e l rg lre y t ler ly c plete t l str ct re, y a add n on d ab fo u n da io n an d d h n th o h h c se i g c si er le t ept . O e t er an d it b oa n o a u a d n d o n n o r h o v do a Ma o B a a n d sts p rtic l r efi e t e ( , we er, es j r ss) , c an a b e m d a n e w o n o o u n a m u h sc rcely ter e t e c l r, i s c as it is m o re a c o m in a a fa m a Th b tion of ton es alre dy ili r . e v a lv u la r reed requ ires som e on d ab a n n an d u I l o . t do n ot a a an d c si er e tte ti pkeep es lw ys st well, b n a t to o ff the n o a n d o du m o n i ei g p fly te pr ce st weird o ses , an d to

a . u d f b e n v h m m b d ha n r ttle S ch e ects, it e ert eless re e ere , ve o t yet been

" ” u fu ad a d f o m o m o o h- o n d m s ccess lly er ic te r cl se s t t e Tro b o n es . To n e m b n ha o f a D a ho n h o u h a i n ha o m h n rese li g t t i p e, t g l ck g , per ps, s et i g o f the d c an b e o b a n d f om b a in d — n m a n n 2 f epth, t i e r e t g ree s wit ess the g iﬁce t 3 t. d at Yo M n Wa h h is a i d o n ree rk i ster ( lker) , w ic c rr e d w to the lowest n o te i n m oo oun d o n h n i s a d n s th r t e, w erei cle rly iscer ible a co n siderable pro portio n f f n a i who x n o pure ou d tio n ton e . Scept cs e pe d their ti m e an d wit in seek in g to determ in e the degree o f resem b la n ce b etween the u se of Diapho n es an d o f x o i n the n a o n o f o u n d o u e pl sives g e er ti s , w ld do well to n o te that of D a hon o are b n o m an a n im o b i an d a s t i p ic st ps y e s p ssi lity, th t, as yet, the D a hon in n fan o b i h av in b n b u t fa n i p e is its i cy, its p ssi ilit es g ee i tly explo red. m th E an On the d of e O C o . the D a h on a n o e ise lectric rg , i p e p te ts, t gether

6 D ICTI N AR r R 5 O Y o O GAN S TOPS . w h o m h h f M B a o f o a d in o the an d o . No m an 81 d it s e t ers, p sse t s essrs r e r , No h n rwic . Si ce tha t tim e an o ther fo rm o f Di apho n e ha s been pa ten ted

Mr - b . H n o n o o n . n a d o n s of a y pe J es I t po ssesses o pipes, c sist pist workin g in a cyli n der rapidly Ope ni ng an d clo si n g a series

o f -h A m u m d a a u o f o o . s a b e p rt les y s r ise , he vy press re D a n at am u n d n a . In A h are o wi is esse ti l US . t ere i ph es Sh t hu h Ma Au n an Ho - o n B o o n . o . C rc , st , ss ( sti Org C , pe J es) ; ’ - . P a a h a Ne w Yo Ho o n 8: St trick s C t edr l, rk City ( pe J es H a n rriso ) .

Die z m o n o v e n a Larigo t . w Di n u 31 t o ré v o o n . to s , g t e i n n m f the An an a o r th . In m u c e t e e Tierce Greek sic, n a fo m d b add n o h two m a o o n a P tha i terv l r e y i g t get er j r t es, y o re an m a o h d hav n the a o 8 1 6 h h a g j r t ir i g r ti 4, w ic is

co m m a greater tha n a tru e m aj o r third.

— “ Di v i n a re A sto pped pipe with a b eau tifu l (div i n e) ” — to n e I Seidel . f h Do c e n a Twel t .

n n n m f r h in DU FF A a cie t n a e o t e P r cipal . — N n . ft. ft. D L E D O L C A D u lca 8 4 See O C .

8 ft. a o 1 6 ft. ft. D o l c e Do lce Sweet . ls 4

1 Form e rl in G m a n Do a n d F au o D o o r ( ) y , er y, lce, l t lce w D a n in o . Th e fo m as a n o lc , were dist ct st ps r er stri g h h r ﬂute u a i th a to n ed sto p with a slig tly t ick o y q l ty, e l tter i n f i n in Ex m a Flu te sto p with a su sp cio o str g ess . a ples o f th e fo r m er are still o cca si o n ally to b e fo u n d i n

m a n m ad o f oo d a n d o m im h a dou b Ger y, e w , s et es wit le N ow b o h i n E n a n d a n d G m a n the m o u h . 2 t ( ) , t gl er y, n a m e Do lce is em plo yed to desig n ate the D o lcan o r Flau to Th D o are o f m a d n n i m Do lce . e lce pipes et l , wi e i g n dia

a s h a n d. The o n x m b au ifu b n eter t ey sce t e is e tre ely e t l, ei g o f an v v h a o u h o f F n h H o n u a in h s t d el ety, wit t c re c r q lity t e The D o is n v a u ab a s ten o r o ctav e . lce i l le an ac c o m pan i m n a o o n the G a o r ho o an a n d m i h h e t l st p re t C ir rg , g t wit a v an a b e m o x n v m o d in h d t ge re e te si ely e pl ye t is co u n try. O n e a o n ha for its a i n En h o a n re s , per ps , sc rcity glis rg s o n i in the fa h a the n a n as ab c s sts ct t t pipes, i cre si g , o ve a in am at the to o u m u h n st ted, di eter p, cc py c sou d D o o f x u b oa d a . A b u r sp ce l eit, lces e q isite q ality are D IC TION AR F OR AN Y O G STOPS . 57 m ade b m n B n n a M o o n b u t i . . N o m an y C pt , i s) , t peri g l ttle essrs r ’ 8: B eard s Co rn o Flu te fu rn ishes likewise a g ood illu stra ti o n o f this a o f on du f i It i n a v d cl ss t e pro ced rom cyl n drical pipes . s ge er lly b elie e ha th F t t e lau to D o lce was i n trodu ced i n to this cou n try b y Schu lz e. Mr m h f h - . , o t e l n o n ﬁrm of M . Abb o 8: m h o f S it wel k w essrs tt S it , L d o n n f m h h i i n ee s, ce i o r ed t e au t or that a D o lce w th verted co n ical was n o u d at h d P a h hu h n z l Th pipes i tr d ce C esterﬁel ris C rc by S e t e r. e

D o fo m an x n 8 ft. da F u in m a o an su n r in lce r s e celle t pe l l te s ll rg s, pe o n n As a a F effect to the o rdin ary B o u rdo n exte sio . ped l lu te it m ay b e h a d at H o n U o o n Ba a P o hn B a e e r ly Tri ity, pper T ti g ; tterse lytec ic ( e l W ’ ’ 81 h n n o d b h . At . K a h n o n v n u n s T y e, v ice y iteley) St t eri e s C e t , Q ee

Mr. h n n n d a 1 6 ft. D o u a W. th a Sq re, , e l te T y e i serte lce o f exqu isite n n a u n o f m a i n of a th o f w t o e . O cco t li it t o sp ce e l west e pipes are “ o d. Th e m an n in h h the m or an i io n f o m o n st ppe . er w ic eet, tr s t r pe to o d o m an u a d is m a o u adual as h st ppe w rk, is ip l te , rvell s ; very gr ly, t ey “ ” n h th b n to o h b o o m . I n desce d in pitc , e pipes eg i l se t eir l deed so m e d f u x n d i n d m n n the xa o a o n o f the b a i ﬁc lty is e perie ce eter i i g e ct l c ti re k . Wa n P a h hu h hu z . h n d o h W D o n caster ris C rc (Sc l e) St Step e , sw rt ( hite

ha m b an Ou o n R o aff . an d a o h o a n le . O s y) C er rg , lt cks, St s ( sever l t er rg

n n H u n a o ka d P a h hu h No . Mu o n 81 b y Bi s) ; ck ll T r r ris C rc , tts ( ss ’

o m on Mr. A m a ham b O an N o n ham a n C pt ) ; r it g e s C er rg , tti g ; C tley

Ma W o . h u h D on a E m m an u hu h L . o d C rc , c ster ; el C rc , eicester ; St ry, estw

m n ca l e s — n h F n H a m o n u o o . S x A D o b B n . (wit rei r iq e) , (C pt ) lce y i s,

m a u d at T . in . in d am at the to o f the i 2 in . at e s re C, 3 i eter p p pe,

B hi n o the o is f u n a d do n in. the m o u th . elo w t s te st p req e tly c rrie w An xa m at E m m an u h u h Le b o m c lo sed pipes . e ple el C rc , icester, y C p

m ad h o u ho u of o n i m a u d at in . at the to ton , e t r g t pe p pes, e s re CC 4 p,

at the m o u h at T . C 2 in . at the to 1 in . a t the m ou h . 3 i n . t ; , % p, % t ( 3) The n a m e D olce i s so m etim es em ployed to desig n a te a Swell: It has a n a B ou rdo n b orro wed a s a peda l sto p. lso bee pplied by n d 8: Fo to th e R o hrﬂOte b o o d a o d n Messrs . Bri ley ster Swell , rr we cc r i g ’ “ t c ho tic m as a G a o an o W a n to that ﬁrm s m e e syste , re t rg st p ( esley

W L h . Chu rch, est eig ) — E h 1 Do 2 a ab a D u ian. Do lc i a n o 8 ft. it er ( ) lce ; ( ) Cl r ell ; ( 3) lc

(reed) .

— = ‘ I t. D o m o at. Du lc issi m a D O L C I S S I M O Du lc i ssim a . ( ) lcissi (L ) very f 1 6 ft. 8 t. sweet.

h Du an a B oo n ab n a or 2 l! ( 1 ) Ec o lci ( r kly T er cle, ( ) Swel

d as a da o b B n n . n 1 6 ft. b o o Bo u rdo , , rr we pe l st p y i s)

— E Do lz ﬂ o te See DU LZ FLOT . 8 D ICTIONAR o r ORGAN P 5 Y STO S .

—Do e l e dac kt r l doub D o p p e l ﬂ at e pp g , etc . (Ge .) Do ppe le

8 ft. a o 1 6 ft. ft. FlOte Flu te . ; ls 4 h A wo o d Flu te with m o u ths o n two o ppo site sides of the pipe . Eit er

o n or o d a n d n a o f a a . It a s o n the n o m a pe st ppe , g e er lly l rg e sc le spe k r l h e o n fu u d n b u t n n d to b e u o f in d. T a d press re w t e is ll, liq i , weighty, i cli e n o f d n v m th e oub s o m ewha t du ll a d devo id isti cti e quality . Fo r erly d le m ou th was certa i n ly i n stru m en ta l in the produ ctio n o f a fu ln ess of to n e m o re pro n ou n ced tha n an ything whi ch had hitherto b een ob tain ed from in -m o u h d a f s gle t e pipes, u ln ess perha ps m ore n o ticeable i n co m bin ation th an n n i i ndividual o tes . The i n troduc on of l a h d has o v ti the e t ere lip , h we er, ren dered po ssible the produ ction from single-m ou thed pipes o f even greater b o d o f o n o m b n d m o y t e, c i e , reo ver, h m n u a wit ore disti ctive q lity . D ou ble m o u thed sto ps po ssess the disad~ v an tage o f requ iri ng clear speaking m o n two d o f th ro o si es e pipes . In E n an d h b u i d r m gl , w ere l ers a e seldo allo wed su fli c ie n t ro o m for their in stru m n and o m on d m n e ts, fierce c petiti e a ds eco n o m y in ev ery i n ch o f s ou n dboard a h u i m n sp ce, t is req re e t has m ilitated m u ch ag ain st the u se o f stops o f this A im n o f l cla ss . spec e the D opp e flOte was n ud d ho v in th e i cl e , we er, Grea t o rgan specifica tio n in the o rg an fo r an dhu a h d a Au a a B ho S rst C t e r l, str li ( is p, In Am erica a lso the D oppe lflOte

is rapidly b ei n g discarded. At Win h a h d a W x n c ester C t e r l, illis e perim e ted h do ub m o n ths fo r o 2 f wit le the w od 3 t. o b u t u d n o a fa o st p, sec re s tis ct ry resu lts . R n H W of u a has ece tly, err eig le, St ttg rt,

‘ a e n d a a o f D o e lfl t n am p t te v riety pp O e , ed b hi m S e ra ho n ﬂOte h h y p , wit t e m ouths on t o ad a n id o f w j ce t s es the pipe. His a n i in u d m a p te t likew se cl es et l pipes, o m m a m o n in u u th s eti es h r ic str ct re, e lang uid a nd lips o f which are b ro ught f o a d to a o n so ha two u fa n at an a u rw r p i t, t t lip s r ces, lyi g c te angle to

e a o h are a d. The m o nths are n a b a ch t er, cre te ge er lly e rded. There D ICTION AR O F O R A P Y G N STO S . 59 was n o thin g rem a rkab le ab o u t the to n e o f the specim en pipes which ’ th e au tho r recen tly heard at H err Weigle s fa cto ry ; in deed the to n e s m d a h r to a b o u at a d ad an a a n m I n ee e r t e l r is v t ge th to b e i pro ved. ‘ th e a o f a in th e a u ho o o n m ad b an o h G m a n c se pipe t r s p ssessi , e y t er er

“ i n im a th n f r b u d o n e o a f m a fa . I n a n l er s il r pri ciples , t e is ro s tis cto ry st ces o f the D o e lflOte m a b e h a d in h o u n at n a H a pp y e r t is c try Ce tr l ll, h n W B m n ham Lu a hu h h W . Ma h ha E . alc ke r ir i g ; t er C rc , itec pel, ( ) ; St tt ew, ’ m i n B v w W m n ad a a a f r the . W B . o f o n E n est i ster ( e ri o R e v J . Cr t s est d o a n ' D b Roa d hu h N o in ham o n a c he r—a WaldflOte o d rg ) er y C rc , tt g ( C v ice ’ n x m i n Germ a n y) . A e tre ely fin e D o ppe lg e dac kt pipe i n the au tho r s o o n m ad b Vo o f D u a h G m a n b a the u b o in d p ssessi , e y it rl c , er y, e rs s j e

Mi . B 2 m a u m n : d o d i n . x i i n m o u h c u t u a e s re e ts pipe, st ppe , % s ; t p

d m u h a h . The c a i h a b b a ln . an d ove the b o . re g , very c rc e p is set sl g tly l ck The two d o f the i b a i n th e m o u h are o f ha d oo d to h h si es p pe e r g t s r w , w ic c i m n is o b a b du e m u h o f o n a x n rcu sta ce pr ly c its t l e celle ce . — D o u b l e A preﬁx sig n ifyi n g su b -o ctave (the o ctave b elo w u n iso n)

h . e . . D o u b a ib F u D o u b D u ian a D o u pitc g le Cl r el l te, le lc , b le

u m The n o m n c a u o f P da o a n o h v Tr pet . e l t re e l rg st ps, o we er, is D u u i f u n n a u a . hu e . . o b D a n a o n a Fa o tta req e tly i cc r te T s, g , le lc , C tr g ,

a r fo u n d to b e o f 1 6 ft. h i n ad o f 2 ft. an um e pitc ste 3 , d Tr pet o f “ ”

f . n a f 1 6 ft. n n m o u h o n 8 t i ste d o Sy o y s wit C tra . — D o u b l e B a s s See CO N TR A B AS SO . — Man ua 1 6 ft. P 2 f D i n da t. 1 6 ft D o u b l e a p a s o l, e l, 3 .

da o o m m n a m d a Ba r Ma o Ba . Th e 3 2 ft. pe l st p is s eti es e Gre t ss o j r ss “ r P a n D ia a o n 1 6 ft. D IAP ASON io n an d MA OR Fo ed l Ope p s , see (sect J

B AS S . — Ma n u a l The ﬁrst Do u b le D iapaso n used in En glan d was that m ade i b y Lo o se m o re fo r E xeter Ca thedral i n 1 664. The p pes o f the D ou ble f m a ho u h b a o o n v o a o n a m a D ia pas o n a re o et l, t g the ss p rti is ery cc si lly de I n old o an a n d i n om m o d n o n the n am o n o u o f woo d. rg s, s e er es, e is err e sly u b H o b i h n the o o n th u a pplied to a sto pped do le . w e t, w e st p is pe , e b ilder a the fa n th o kn o b r k h i s g en era lly carefu l to in dic te ct o e st p o e y. T ere o o d a n do n o n m o o v the ad a n a o f b n is a g ec te, e j yi g , re er, v t g e ei g well o n n d h the n e w o an a u d b a a n hu h a u then ticated, c ecte wit rg cq ire y cert i c rc The o ld o n b in a d fo r his o in o n o f the n e w a t Westm i n ster. clerk, e g ske p i

n ax d m o l o u n o v the fa a v n on a n d a i n stru m e t, w e st e q e t er ct th t it e e c t i e D o u ble D iapa so n i n ca se tlze fi rst one broke — m f P e da l The pedal D ou b le D ia pa so n is ade o wo od or m etal . Pro bab ly the b iggest scaled sto p ever em plo yed wa s a wooden o n e o f ’ l m u m n n d b H i to D r. Ca m id e s o d ft. di a on a a 4 , g e s re e t, i serte y ll , g r er, o f n h n d fo m M n in 1 8 2 . u a t Yo rk i ster, 3 The pper pipes this , le gt e e , r The f n of th th e lo wer pipes o f the presen t sto p . ro t e CCCC pipe 6 0 D ICTIONAR OF OR GAN ST P Y O S .

m a u a u 2 f h a d xa m f 2 . o S o e s res b o t t. T ere is g oo e ple o a 3 ft wo d t p f he A b H a h fﬁ av ai - ﬁ o m a a a t t d e o . The s ll sc le l ert ll , S e el (C ll C ll) rst h i n En an d was n d a Y M n m eta l sto p o f 3 2 ft. pitc gl i serte t ork i ster

1 2 I t in u se . Th m a u 2 0 in . ( 83 ) by H ill . is still e CCCC pipe e s res

i n i m M a 2 ft. a in d am f o m ab ou 1 in . d a eter. et l 3 pipes v ry i eter r t 4 Th a n u m i n h o u n ha b n to as m u ch as 2 4 in . e gre ter b er t is c try ve ee m ad b K itse ll o f Lon do n the b a d z n o — ha m al e y , cele r te i c w rker t t et ’

h m a At . o b ein g u n do u btedly t e b est terial for su ch larg e pipes . St Ge rge s H a L o o W x m n d h a o n i fi d h ll , iverp l , illis e peri e te wit c st ir p pes tte wit d m on ths b u t h n a fa o a n d a n e w o o f z in woo ; t ey were ever s tis ct ry, st p c

u i u u n th n u Th e 2 ft. o at the A b was s bst t ted d ri g e rece t reb ild. 3 st p l ert “ ” W f u tin ie 0 n b u n h Th H a i is o z . . d. e o ll ( llis) p re ( , 9 per ce t ) r is e l west — fo u r pipes a re repu ted to have co st a ltog ether £8 00 the price o f a - W m o d a z d o a n in f. At Ulm Mii n ste r a lc ke r m a b e er te si e rg itsel ( , y f c n dr a l 2 ft. o Fo m h o o d in th a i n seen y li ic 3 pipes wo o d. r erly t ey st e c se ” ro . The o n 2 ft. o a v a u xu a n o a n p spect pe 3 st p is ery gre t l ry, y rg n b n at o n a i to th n in po ssessi g it ei g ce r sed e dig ity o f a ca thedra l stru m en t .

A o u a o n a ff at th e n da ha of 2 ft. da a o n h p p l r t l e ect prese t y is t t 3 pe l l e, wit n i m n u a h th disti ct ve a l sto ps su c as e Céleste .

D l E n l i r — 1 6 f o u b e g s h H o n t.

- n r Ho o n . Th e i I ven ted b y M . pe J es p pes o f the D o u b le E n glish H o n hi h are o f h h a m a are o f n v n i a r , w c t ick e vy et l, i erted co c l sha pe an d

are u m o u n d b a b . h are o f fu Th o n u s r te y l rg e ells T ey ll Ob o e scale . e t g es a re i h d a n d as f a a n d C o to th a s we g te kept l t l se e reed po ssib le . Th e . ” h a o are o n m ad h a a a u The u a s ll ts pe e wit p r llel pert res) . res lt is “ v f o n o f a b ia n a n d hn . P in ery ﬁery ree t e, g re t rill cy ric ess o ssess g as it do b ut i b o d th e o n u a m a b e d ib d as a h n bla in a es l ttle y, t e q lity y escr e t i re ( m Th u E n u sica l sen se) . e D o ble glish H o rn is pa rticu la rly rem arkab le fo r th e hn im a in n a i n It a m ric ess it p rts co m b i t o . is o st effectiv e Swell do u b l e “ At th a m m f m f reed. e s e ti e its reedo o to n e ren ders it sca rcely well su ited to fo rm th e po sitio n (which it ha s so m eti m es o ccu pied) o f the on ly do u b o in a a ﬂ u e do ub b n n a le st p Swell, le ei g ecess ry The sto p do es n o t m b the C o r An a a n d diff m u h i n o n f o m th rese le g l is, ers c t e r e o rdi n a ry h r o m n a t do u b le reeds . T ere a e g o d speci e s t he C o lleg ia te Chu rch W W , a M ha h u a W. an . d o rwick ; St ic el, C ester Sq re, rcester Ca thedra l ;

- ( H o pe J o n es) .

— P P E LP L E Do u b l e Fl ute See DO OT .

D O U B L E - M O TH E D P I P E S — D P P U See O ELP LOTE .

L - H R — B - D O U B E O B O E O N See O OE H O R N .

— - D B a 2 ft. U B B O R o ub le S to ppe d s s 3 See S U D ON . D ICTIONAR OF ORGAN S T P Y O S . 6 1

D O U B LE T O N G U E D — R E ED Do ub le-to n gu ed o rg an reeds a ppea r to h ave b een ﬁrst experim en tally d b H Gi f trie y err esecke, o

Go n n . u b u n tti ge S seq e tly, ho v h a we er, t ey were pr ctic a a r lly pplied by M . H o pe ]o n es for the ﬁrst tim e at Wo rcester Cathedral

( 1 8 96) an d later - at the Mc Ewa H a E n u n d b h . ll, i rg The la rg e Tu ba s in these two i n stru m en ts are furn ishe d w ith woo den shallo ts R EED a h h tw (see ) , e c wit o to ngu es ﬁ xed o ppo site to o n a n h h ar e o t er. T ey e

v i n 2 0 u . o ced o in . press re The Wo rcester exam ple is o f o di iou o an d pr g s p wer, v m o o h hou h n o t so ery s t , t g reﬁn ed in to n e as a Willis u b a o r as the ub a T , T Son o ra in the sam e ln n It is o n t stru m e t . pe o qu estio n whether the resu lts a ccru i n g fro m the u s e o f dou b le-to n g u ed reeds are at all co m m en su rate with the tro u b le en tailed in their c o n

n u . It stru ctio n a d pkeep is, u ha the ro of cou rse, tr e t t p v isio n o f a seco n d v ib ra to r do es m aterially a m plify the * n B u t v o lu m e o f to e . it

* for sc ie n tiﬁc re ason s Bu t, which ca nno t b e e n te re d i nto t to a n e x e n a t all ro he re , no t t p portio nate to the intrin sic capa city In o the of the se c o n d v ib ra to r. r rd a doub e - on ue d re e d is wo s, l t g by n o m e a ns twice a s po we rful as - - Double on u e d Re e d. a sing le tong ue d pipe . t g 6 2 D ICTIONAR O F R AN P Y O G STO S . wou ld seem that the m axim um degree o f po wer desirable c an be o bta in ed ’ f o m h av - n o f a n n h P au a r e ily blo w pipes triple spe ki g le gt St . l s C the

o u d th tw v a o f u - o n u dra l No rwich Cathedra l) . Sh l e o ibr to rs a do ble t g ed d ha n to e t h o u t o f u n h a h o h the n ot ree ppe g slig tly t e wit e c t er, pipe will , w n o f o u m u an o u a t o n o e b u t u ff i ua . c rse, si lt e sly spe k t s it will s er q lity — D O U B L E T O U C H A sto p co n trolled by a key or kn o b to which this term is a ffi xed wou ld spe ak o n ly when the seco nd to uch o f a m an ual

was u h n o o a o n h k n d d a a n bro g t i t per ti by t e e y bei g epresse , g i st

the a n o f a o n n b o n d the o d na ou h . resist ce str ger spri g , ey r i ry ﬁrst t c In the H o pe-Jo n es o rg an s at Wo rcester Cathedra l an d the Co lleg iate hu h Wa wi k the o on o n the so o n u d as C rc , r c , st p key c tr lli g Céleste is c str cte to o n t tw m m n in n h resp d o o o ve e ts . The in itial trav el o f the key b r gs o t e ha a n the o m d a a a n a o n an s rp Céleste r k, c plete tr vel ( g i st str g er resist ce) a dd the ﬂat an s r k .

— R MP Do u b l e Tru m pe t See T U ET . “ D T E — a v O U B L E T r 2 ft Fr F f n h . 2 M x u a G ( ) . ( . ) i tee t ( ) i t re . ( ) r e Mix 2 n u 1 2 th an d 1 th o r b a M x u o m o d o f 1 th a n d 2 d. t re, s , ( ) i t re c p se 5

Dr P m m A a h h h n u m da o o . d d d e l Tr el (g ) pe l w ic , w e epresse , adm d n d to the two o o n the o a n h b an itte wi l west pipes rg , w ere y ff m u a f w n e ect si l ting the ro ll o a dru m as o b tai ed. The D u m s m I t was a o n d b r peda l wa u ch u sed a bro ad. ls i serte y Fa h m h at . N ho a D fo d a n d b R e natu s H a at a u m t er S it St ic l s, ept r , y rris S r Ca thedral I n so m e an cie n t o rg an s the peda l m o ved the a rm s o f ' in u the a o k b a n d u m a o EFFET D RAGE . ﬁg res c sew r , e ti g r s . See ls S O

— ' ‘ L FL . D U IF L OT Do iﬂbt ( Du tch) . See D O PP E OI E — P u m ab o f f n . D u lc e o n Prin z ipa l . res ly so t to e

D u l c e t ft. F The n am e has n o ﬁx ed m ean in g . It m ay represen t a delica te lu te o r a D o or a s D u lc e t P rin c al ma b a the a m a o n to lce, i p it y e r s e rel ti

D u lciana as do es Salicet to Salicio n a l . The l a st co n n o ta tio n is the m o st

Th av D u a n a was u d b G n at R o h a h d a u su al . e Oct e lci se y ree c ester C t e r l a n d Gree n wich H o spital . — z z n o D ulz i no . na 8 ft n m D u lc ia n D u an Du l i , a O ., a d do l i , rigi lly very sel

1 ft. 6 ft. later also 4 A m an a a d n i a i h th B o n T Ger reed sto p pr ctic lly i e t c l w t e ass o . he pipes n r ll n r a G n a a a a d f were im ate ia y either o pe o c pped. e er lly l rge sc le ree w h o n n h o m m h v a b n d b d d o a d. ree , it ies wi e i g slig tly ; s eti es, we er, e ti g ree Mu h n n n n l h m ad o f o . a o h a d Occa sio a ly t e pipes were e wo d l u se St . J

Ma hu h Han o . D o m n o P a u . At Ne u Ru n rket C rc , ver ; St i ic , r g e ppi z a m was 2 ft. F au n h Go nd hu h B a u ( 3 ) r e kirc e, rlit ; Ce etery C rc , resl , it ﬁn e u h n an ho u h ar x n fou n d a s a o . e o a . The st p S c i st ces, t g , e cepti l

u m n D u a n was a m o f B a oo n . in str e t, lci , pri itive type ss

6 D ICTIO N AR r R AN P 4 Y o O G STO S .

m a o nv n n a n d ff b e b o o d o n to the P da a it y c e ie tly e ectively rr we e l o rg n . B o h on m an u a an d da the Do u b e D u a n a o t l pe l, l lc i a is sto p f the u m o a u a n d b au fo m n an x n b a ou n d an b a t st v l e e ty, r i g e celle t ckgr d ss to f o m an u a om b n a o n . I t u n fo u na a in h o u n s t l c i ti s is rt tely r re t is c try, si n ce its u i i n n m n f h r t l ty is co ﬁ ed to co b i atio n s o n o grea t po wer. T ere a e go o d m n at Wa o a h u h an d Mc Ewa n H a Ed n b u h speci e s rwick C llegi te C rc , ll, i rg Ho - o n b o h a o n a n d i n th e a to h h u se m a ( pe J es) , t p rtly c t i e c se, w ic , it y a n a b e o b v the i ar n a p re thetic lly ser ed, p pes e well ada pted o cco u n t o f their

nd a n d a fu o o o n an u n s ru iv o n An av sle er gr ce l pr p rti s d o b t s e t e . O ct e D u ian a b S n e tz le r o u d at P a au a h d a m a n h lc y cc rre ss C t e r l, Ger y. T e ﬁrst D o u b D u a n a a a to hav b n n o du d b Bi ho at A Lan le lci ppe rs e ee i tr ce y s p cre e, a ha m The D u ian a n a a n E n h o a m o Cl p lc is esse ti lly g lis st p, l st n i u n n o n o n the o n n n v n at the n a The a f e t rely k w C ti e t e e prese t d y. sc le o

4 the D u an a v a f o m in . to a in a t A s n did m n lci ries r 3} 4} . CC . ple speci e i Mr m n a t Em m a n u h i m m o d b . o o u h N o n ha a u v ce y C pt el C rc , tt g , e s res

i n . T . C 1 in . It o f o d m a a n d the o n u CC 3% , % is sp tte et l, t e is q iet an d v v el ety. — D u l c i a n a M i x t u r e Du lci an a Co rn et . A M x u o o f u i v o n ho u h a o f D u an i t re st p q et sil ery t e, t g sc rcely lci a

a d . A v a a u i o n to an a n f m o a i sc le pipes ery gre t cq is ti o rg o der te s z e .

Th D u lc i n Mix u n a n in x . e a a o d a b o . Ma t re is g e er lly e cl se Swell St rk, L d B n n Yo k Min Wa k E ho O an N o h a h d a ee s ( i s) ; r ster ( l er) c rg , rwic C t e r l, — ff i VI an No m an 81 B a d a m o v e o . MI T R E r ks ( r e r st e ect st p) See X U . — D ulc im e r A stri n g i n stru m e n t in tro du ced a s a n o rgan sto p b y Se hwar o at Mi ha ov n bro k St . c el , C e try Th D u m is a a z - ha d n u m n o n h ar s h e lci er tr pe e s pe i str e t, w ich e tretc ed ha n d h a ha m m wires which are stru ck by wit e r.

— M D u lc is s im a See D OLC IS S I O . — FLAUTO D U LCIO. D u lz ﬂ o te D olz ﬂote . See f D u o de c i m a Twel th.

— n x n a f n f n A x d n o o o o o . e . . E ho E c h o preﬁ e ti g e cepti l s t ess t e g , c

D u an a E ho a o n a E ho o n . lci , c S lici l, c C r et When the n a m e o ccu rs by itself in the speciﬁcatio n s o f an cien t Co n ti n n tal n u m n ha s f n to a u i F u n o d in a b ox a n d e i str e ts, it re ere ce q et l te e cl se h a o o m m a d B ou r n f a n do e c ho . iso lated ro m the o rg . T is is ls s eti es c lle

— B R Ec ho B a s s See EC HO OU DON . — E C H O B O U R D O N 1 6 ft.

du n b o u B o u do n . A L b i h B o o d o n th P A q iet r Swell ie l c r , rr we to e edal

an f u n n a m d E ho B o u do n o r E ho B a . DOLC IS S I M org , is req e tly e c r , c ss See O. D I TI NAR r R AN 6 C O Y o O G STOPS . 5 — E c h o G a m b a 8 ft.

A u i a m f M . G b a o f ha d old o n . Form e rl a a o q et r , c t e y, speci lity essrs Wa wh o n o w o n i n u a n m to ha is ua lker, , h wever, co t e to pply the a e w t virt lly ’ a n Ga m b a or V h am b a a m o Stri g , iole d Orc estre . The Ec ho G is l st nv a a b n o d in a ox i ri ly e cl se swell b .

’ ’ ' Eﬂ ts d ra e Eff e ﬁ c t O a o m . e O g et e . r ge st r T R PE A See S O M D L.

En lis h Ho rn — OR AN GLAIS DOUBLE ENGLISH g See C ,

H O RN .

i m i V n Ep s to u m a e til . — H N o d. E U P O E Eu ho n u m E ho n e . Gr. so o p i , yp ( ) g w ’ w ou 8 ft. b nd. I 6 ft ( ) s . ; The ﬁrst in stan ce o f the Eu pho n e was that in serted at B a u a a h dra in - in o m a n h o h f e e v is C t e l 18 2 7 29, c p y wit t er r e n r m The ree d sto ps nam ed Con oclyte a d Te po e le . pipes i a in b o m n a n i n were cyl ndric l dy, ter i ti g a n n The T e r om e l e an d th e lo g co e. p Euphon e were adapted to expressive u se b y m ean s of a dev ice for va rying the n u b u n in 1 8 0 wi d pressure . S seq e tly, 3 , Seb astian Erard i n tro du ced an expressive

f hi h h n am d Eu on n o ree reed, w c e e ph e, i t

his o rgan at the Tu ileries Chapel Roya l . The fo rm of pipe b e adopted was that n u tilised b y M. Gren ie twe ty years pre i sl o u a o n o n ha E a d v o u y. The p p l r pi i t t r r was the in ven to r o f the Eupho n e is The o n u therefo re in accu ra te . t g es were h n a n d the of the broad an d t i , pipes were ha d om a a Gre n ie pattern , s pe s ewh t like Wh n ba llo on with a slit n ea r the top. e h h b ut a the n owm ade, w ic is r rely, pipes a In o n are o f in verted con ica l sh pe . t e u the sto p varies co n siderab ly . Us ally it m ay be describ ed as a s ort o f cro ss r A a Ba o on n d b etween 3 Co ngl is, ss a

o f n n o na on . The Clarin et . It is ge tle i t ti Eupho n e was i n tro du ced in to this cou n try

K an d a d n . . P b y Messrs . irkl J r i e St eter, 1 8 6 F ad H a Man chester ( 5 ) ree Tr e ll, An xam ou h Man chester e ple, th g m n x d at the an im pe rfect speci e , e iste 66 D ICT ION AR OF ORGAN STOPS Y .

U n a an u N o n ham b ut wa m v it ri Ch rch, tti g ; it s re o ed a fe w years ago b au the au ho ou d o a th o n n h ec se t rities c l t ler te e t e o longer. Ot er i n an : . u an d . Eu a h Pa u h h st ces St S lpice St st c e, ris ; Z ric Ca t edral .

Eu ho n i — E P H p u m See U ON E .

Ev a c ua nt E u a t m A n n v a o . d a o o a a v c re e pty r wst p, pe i g v l e h a o th b o x w ich ll ws e ell ws to e hau st . The o n xam l in hi ou n at D b R oa ha No n ly e p e t s c try is er y d C pel, tti g ham C on ac he r n d to th f Mr n e o de o . oh Ro ( ) , i serte r r J gers , The au tho r ha s vi v id reco llectio n s o f attem ptin g to s o lv e the n a tu re o f the o h h in h i n an ou d ab ov the o Th d v st p, w ic t is st ce is gr pe e Swell st ps . e e ice o n a d n the n in h wa m r in h rig i te o Co t en t . T ere s do u btless so e u se fo it t e days when bello ws were so m eti m es so liberally m ade th a t (as we read in ’ “ H a m i o n a h m of th e an ho at v a h a h n lt s C tec is Org t se Se ille C t edr l, w e fu a d u d the fu l l a n f r a - f- h - lly ch rge , s pplie o rg o qua rter o a ho u r o n e n d.

F .

fo d. M x u d fa h M x u h f Fa c h l i t r rei c i t re t ree o ld, th ree

ranks . — FA G O T TO See BAS S OON . — 1 ft. B A C o n t r a F a g o t t o 6 See SSO O N . — FA N T R E M O L O A species o f Trem u lan t u sed b y the Au stin Organ

- U . A. n in f w f o . S . o o a t o b ad d an . C , , c sist g l e

The fa n u n d d in a b ox o v the i aff a n is s spe e swell er p pes ected, d

o k d b fo u m a m o o o u d i n a b m an f h w r e y r s ll t rs , c ple p irs y e s o rig t

n d an k a n d a ua d b the n d. The ff is a an a gle cr s , ct te y pipe wi e ect ple s t n m u a for the Fa n m u an a o n the ou n d av te r a d sic l, Tre l t cts s w es af n n o t n f in h th e h of the T pro du ctio , i ter er g wit speec pipes . he b ass ib aff I n a pipes are o n ly j u st percept ly ected. la rg e o rg an o f—the o rdin a ry type b o th v arieties of Trem u la n t m ight well b e em plo yed the m u a n for a d v ibra to ff h Vox H u m a n a th Fa n Tre l t r pi e ects wit ) , e f a d n a o fo r o h o u n ff . h i o rdin ary type, p wer l esse ti lly sl w, t er e ects T ere s i n hi ou n at Ba hu h R u h n h n an exam ple t s c try the ptist C rc , s de , N o rt a ts The a n air- h m o d in th A (Au stin Orga n ) . p te t c est e pl ye e u sti n o rg an s affords a wind s u pply so ab so lu tely steady as to b e qu ite im perv io u s to the a ctio n of an ordin ary Trem u la n t . — R U M P E T H o z o n a u m . A o Fan u b a H z n FA N T ri t l Tr pet ls T , o ri o ta l

u a a o HAMADE R OMP ETTE-A th e FR N I T b (See ls C , T See O T S P IECE . a o r um i h i b n to an o b u a n an d ad u Tu b s, Tr pets, w t p pes e t t se gle spre o t B h m a n the o n a u d t in th e fo rm o f a fa n . y t is e s t e is c se o bla re ou t at in a m an n n a av ou n m o o f n o han f the au dien ce er g e er lly s ri g re ise t o m u sic. DICTIONAR OF OR AN P Y G S TO S . 6 7

* Exam are o m m on i n a n h u ples very c Sp i , w ere s ch pipes are o ften m ade

Of brass. Th e ﬁrst Fan Tu ba s in this co u n try were in serted at Yo rk “ M n H in 18 ha n b n n d b H u n i ster ( ill) 44, vi g ee prese te y dso , the Railway " K n . h i g T ey were rem o ved in the recen t reb u ild ( 1902 E xa m ples x at All a n Ma a W . 1 8 8 Ma n h o n H a e ist — S i ts, rg ret Street, ( 5 ) c ester T w ll ( a a e o an d n d o f the a at A b a h f C v ill C ll) ; (i si e c se) l ert H ll , S e ﬁeld av a e- (C ill Co ll) .

' Fe ldfl te —Fe ld f if o e e . Ge r. F E _ p ( ) eld field. ither ( 1) Waldflcite ; z c hw z ( ) S e i e rpfe ife .

Fe dho rn F d ﬁ W d. ALD HO R N l el el See . F “ e rn d a n . E u v a n ist t q i le t to Echo .

Fe rn ﬂ O —S ft te . See EC H O

Ma f to an u ﬂue o o f d a n n y re er y q iet st p ist t to e . So m eti m es a variety

o f G da h a m a ho i n the id o f the i n a th At e ckt , wit s ll le s e p pe e r e top . Ma n . D o h u z a d a m St ry, Ty e ck (Sc l e) , elic te Ge sho rn 8 ft. — Fe rn ho rn A in d a o n m a o Of a a bu t m a cyl ric l pe et l st p, l rge sc le s ll b o re, at Wa h n o n m A U . S . . K m ba s i gt Te ple, ( i ll It is pra ctically an h o o r u ec C de N it .

F fr‘ Fif n h 2 ft 2 n - e . o n d 1 ft. Ab b v a h d i tee t , 5 ( ) Twe ty sec , ( e ille C t e ral) I I an k M x u 2 6th a n d 2 th (3) r i t re, 9 — F i f t n t h D m a u n a u r-o av 2 f e e t. eci q i t , S pe ct e . a 1 5th a o u n n b ve is o ) .

A u -o a D a a o n b a n the am a io n to P n i a f s per ct ve i p s , e ri g s e rel t ri c p l 4 t. as do th a to D a a f The f es e l tter i p so n 8 t. Fi teen th adds brightn ess to

D a a o n o n . F u n v o d too o fu an d h ia i p s t e req e tly it is ice p wer l s rill, espec lly i m a o an I n o an o f m o a dim n i n s ll rg s . rg s der te e s o n s a H arm o n ic P icco lo

o b ab a m o u f an d ff The n am - is pr ly like re se u l e ective . e Su per o ctav e is o m m a i d to a fu - a d o fu F f n h as is s eti es ppl e ll sc le p wer l i tee t , Octave to a P n a O f m a o n u io n an d ua ri cip l si il r c str ct q lity .

’ F u a fo m n o h Fi s tu la pipe . ist l r erly de ted t e Syri nx o r P an s

’ ’ i M m m a m i . Lat. Fistu la t a F a o p pes ( ) s llest p pe l ge let . ' ’ stu l a a l zczs i n Fi S willo w pipe Sal cio al . — e F a h flat o r a o . f ft o a io n a FIa c hfl Ote (G m l c , sh ll w 8 t. 3 4 . cc s lly 2 f ft t. ; I . The n a m e has its o rig i n in the fa ct that the lips of the Flac h flo te are

v b oad. The are ha d a s the G m an o r S itz ﬂOte ery r pipes s pe er Spill p , the h b n c t u h h Th o n ha an h n n e d . o a m o u t s ei g u p ig . t e is s rp t i M stic hu h W n a n Ga b 1 0 Haa m Mi C rc , ei g rte ( ler, 75 ) rle ( ller,

Se e the illustra tio n of the re ce ntly re built org an at Se v ille Cathe dral in the Ze itschrifl: ” fur Ins rum e n e n bau Le i si N o . 1 1 0 . t t , p g , 9, 9 3 68 D ICTION AR Y OF ORGAN STOPS . — F l Fo m FISTU LA MIN IMA 2 ft. a g e o l e t Flau tin a . r erly

o b n u han the F f n h ada d to the This st p, ei g q ieter t i tee t , is well pte ho o a n n h an d h ﬂ u te ho u h n ot so C ir rg . The to e is sprig tly slig tly y, t g fu a s h i h h h ho f u n ll t a t of the P icco lo w t w ic , wever, it is req e tly

o n fo u n d d a o n a fo u n d o n the o n n n in 1 ft. h c e . Occ si lly C ti e t pitc (see AMPANA C ) .

F l T - — a 1 t F a n h o r m e a t w e n t y ﬁ r s t (b s ) . l t Seve t Septi ,

o m m n m n Man u a 11 ft. s eti es less co rrectly a e Sha rp Twe tieth . l, } ;

da 23 ft 3 ft. pe l, , . ; 4 , A m utati o n sto p so u n din g a m i n o r sev en th (tu n ed perfect) a b o ve the “ ” Fif n h ho u h o f ou o h M x u o u b to b a . tee t , t g , c rse, like t er i t re w rk s ject re ks The F a m n f i ho was o du d b Mr. a o n O L v o o b s l t Septi e i tr ce y J cks , erp l, y w e “ ” so n wa s fo u o u di o d o n e da in 18 h n u n in o it rt it sly sc vere y 4 7, w e t g cl se, h h H e was a t t e v o n m a h n the o d O f E G a n d m n o th . ici g c i e, c r C, , i r 7 u i d to h a a s oo n a s th e a n o b a m f a d n o s rpr se e r, s l st te ec e per ect, eep te ha O f a d an ff du e o f o u to the odu o n Of a o fu like t t ree , e ect , c rse, pr cti p wer l h F a im wa n a M B u a n o n . I n 1 8 8 t e s d t . a o o res lt t t e 4 , l t Sept e i serte St ry, tle, n a L oo an d atWh o h P a i h h u h a n d i n 1 8 o n b o h m anu a e r iverp l, itw rt r s C rc , 49 t l Th a o an wa s O n H n a n d pedal a t Liv erpo o l Co llege . is l tter rg pe ed by e ry m a who n a v a u f n to the F a m in his o an S rt, i serts g e re ere ce l t Septi e rg I n th f n r H k n av i . D o a ta o n the n u m n . b o ok e o llo wi g yea r . p i s g e rec l i str e t “ W H in o n an o n u o n a b u he D r. J . . t ( Org C str cti ttri tes t pro bable M x n n o n o f the v n h as a u an to D r. Gau n who i ve ti Se e t i t re r k tlett, is

u d to h a n o du d at . O av o u h a h v rep te ve i tr ce it St l e , S t w rk t ere is e ery

n ho v to b i ha D r. Gau n a n O f u f m i h reaso , we er, el eve t t tlett le r t its se ro e t er

H o kin o r Mr. m a . The F a im has b n u d b av a D r. p s S rt l t Sept e ee se y C ille im t N Dam P a in 1 8 6 m an a a 8 u 2 ft. a n f o o 3 d 13 t. C ll (ﬁrst t e tre e, ris, , l , , , ,

da 4 ft. an d u b u n at B a b u n Pa i h hu h pe l, 4 , 5 s seq e tly l ck r r s C rc , W lc ke r au of F a n fu - o n -the - Od Lad a Of W i n f a ; S er, r k rt er eg st, e sse els Ni h o a L z a on Lo n do n O a n h a h (St. c l s , eip ig , C ss ( rg Sc o o l ; C t cart h K n in o n Ha o n Ha on Wh hav n H u ou o m o n . o se, S t e s gt ) rris rris ( ite e ) C pt “ ” d b d b D r. H o n as a The The effect is well escri e y pki s br ssy. sto p f - n n or f sho u ld therefo re b e n either ull to ed po werfu l . It o rm s a valu a ble f x i n g redien t i n the co m po sitio n O Mi tu res .

—- — - - F L AU T A B E C F u a b e c . Fr. B e c n o b a . Q l te ( ) se, e k 8 ft. ; 4 ft.

A F u n a m d af the Old F au -a-b e c b o n n o t a n v a l te e ter l t q, l w , tr s ersely s

the o din a F u b u t a F a o . The o was Of n o r ry l te , like l ge let st p pa rticularly

in v o n . The i o m m o n a i n ha dist cti e t e p pes were s eti es c ic l s pe, so m eti m es

wh o lly or pa rtially sto pped.

F A A L L E M A N D E — FLA TO TR AVE R L U T See U SG. D I TIONAR F R GAN T PS 6 C Y O O S O . 9

F a u H m — ft i a v a d l t e io l S . A o as the h o , adu st p which , p tc r se g r lly rie its

u a h o u h a F u . Ha m Gam b a, al Fu a a nd , q lity t r g S icet, g r l te (See el V l I . o . II 0 . , p 54

There was pro b ab ly as m u ch acciden t as des ig n in this pecu liarity. The difficu lt task i n v o icin g m o dern keen Ga m bas o n a lo wwind pfe ssu re is to th e n ua o m b n h o on a o in preserve stri gy q lity, c i ed wit prop rti te p wer ’ in the b . th a r n n Vio b am u i f u tre le So m e o f e l te M . Thy e s les ec e q te l tey h The h a n h H o n n a m a ab t e u pper o ctav es . o rc estr l Fre c r prese ts re rk le n an o f h an o n o f ua Wh a at on e m was i st ce t is tr siti q lit . ere s ti e it y — c o n sidered the stan da rd o f excellen cy to en dea v ou r o ften with the fi na l — . resu lt o f ru i nin g th e sto p to preserve o n e qua lity o f to n e thro u gho u t the c m a n o w o f a a a o n d fu has b n O n d in the o p ss , l te ye rs w er l field ee pe e skilfu l m erg i n g o f o n e qu ality i n to o ther in differen t po rtio n s Of the P ha the m o a an d an in h —the o n e C o m pass . er ps st dv ce o r t is respect — g which s ugg ested this po in t to the au tho r is that at B a ttersea P o lytechn ic h n n v i Wh B a o d b . ( e le T y e, ce y iteley) — FIa uta Arm dn ic a (Sg ) H arm o n ic Flu te . — F a u to u do . Lat u da u o n d. Fl a u ta C us pida l C spi ( . ) C spi t s p i te See

P ITZ FLOTE . Lu n d a h d a d n . S C t e r l, Swe e

‘ i E u a ia n or Ba u F u . Fla u ta Eus ke r a sk r , sq e l te F Fl a uta do lu te .

Wa ldﬂ te ho n - n FIa u ta do Ku e ro lo fé n o ( r y to ed) .

Fl a u ta do P ri n c i pa l Diapaso n .

Fl a u ta do Vi o lo n Ga m ba . — F l a u t i n a Flau tin a a ft.

h u a n P ractically syn o n ym o u s with Flageo let . S o ld y distin ctio n b e w the P au n a the m o d a o f the t o . dra wn , l ti is re elic te — FL A U T I NA D O L C E z ft.

- A Flau to D o lce o f s u per o ctave pitch.

F l a u t o Flu e Lat. F a to b o c E n h t ( ) l re l w ( f glis , a i n ﬂ te) . — ’ E F au o Am o o o F u d Am ou r. FL AU T O A M A B I L l t r s , l te

Am o u o La t Am o ro sus ov in . 8 ft. ft. (Fr. ) r l ve ; ( ) l g 4

- o m m b L A s m a ll scaled Flu te o f b right ton e . S eti es y ewis) vo iced a n a h b d o b n a o n a a n d F u n in u b . s lightly stri gy q lity, ei g y ri st p etwee S lici l l te — f 2 f . f 8 ft. t. t 1 t. Fl a uto di P a n P an dean Flu te . ; 4 ; ;

i o u o n the P da a n d as 2 ft. o n the Ob at Lu nd As 1 ft. t cc rs e l , erwerk,

" d n the i n b o h i n a n b n O f tin . I n h Cathedral, Swe e , pipes t st ces ei g t is

a d n a h am an a a . P n d a n F u c apacity it is pra ctic lly i e tic l wit C p (y ) a e l te,

f r ft n a u v a n to V n na F u . 8 t. o 4 , is ge er lly eq i le t ie l te 0 D AR F R A 7 ICTION Y O O G N STOP S . — F l Do an F u D ou . Fr. Do u . a u t o D o l c e lc , l te ce ( ) ce sweet The co rrect na m e for what is k no wn in this co un try and b y m an y m odern Germ an b u ilders as Do lce (a n ) . — D . 8 ft ft. Fr. Do u . Fla uto Do uc e Flauto oris . 4 ; ( ) ce sweet

A o d n to d a F u h t n i h G m ho n cc r i g Sei el , l te wit pipes aperi g sl g tly ( e s r

h F au D u a n o n m o u h Flau o Do . s a pe) . l to o ce is lso sy y s wit t lce

l i F au o Du i D u lz ﬂote . Lat. D u . Fla uto D u c o l t lc s, ( ) lci sweet

8 ft. 4 ft.

A n t a n o n o u O f m a a h ccordi g o Seidel, pe wo d Fl te register, s ll sc le, wit im h h i a a a m a a sweet plea sa n t to n e . Sc hl b ac sta tes t at it s pr ctic lly s ll

a ff n fl t F a u D u lc i a a n o n m f r F au o D o . sc led O e O e . l to o is lso sy y o l t lce

— 8 f Fla u to Gra v e Grav e Flu te . t.

A fa n n a m fo r an o d n a fu - on d F u u d b B u o cy e r i ry ll t e l te, se y ck w

o h a a . S r , Silesi ) — Fla u to lta lic o Accordi n g to Sc hlim b ac h this is an o rdi n a ry Flu te O f

i n i n i a o n . ft h . The n am o u n o m a 8 . pitc e cc rs s e c e t spec ﬁc ti s — f . o m t m F L AU TO M AJ O R Majo r Flu te ; Tibia Maj o r . 8 t s e i es

1 6 ft.

f n o m m a l d in An o rdi n a ry co m b i n atio nal Flu te o f u ll t o e . S eti es pp ie t n b a P n a an d to a v a O f H ohlﬁOte Ab b o m h . this co u try to Ti i le , rie y ( tt S it ) — ft. Fl a uto Min o r 8 ft. ; 4

a n an ' o av F au o Ma o b u t o a o n a a n d Co rrectly spe ki g ct e l t j r ; cc si lly, m n b a i d to a o im a to th e F au o Ma o u t perhaps ore se si ly, ppl e st p s il r l t j r, b

less po werfu l . — Fl a u to P ic c o lo See P ICCOLO .

— f Fl a uto S ta c c a to 4 t.

F u u m a b m a n n n d d fo r u i f a A o od se n s a cr to a a . w l te, pres ly i ly i te e p ss ges Erlan ge n — an f r F u . 8 ft. f Fla uto Te de s c o Itali o l te 4 t.

r u Ita li a n was sugg ested by D . A dsley as the sta n da rd lang u ag e fo r o n om n a ur all o h m u a m b n ou h i n o rg an st p e cl t e, t er sic l ter s ei g c c ed tha t b v h h i As Mr. Ro b o n u O t e o n u . a u to g e erts j stly ser es, c ce is p rtic la rly f u n a for I a ian o a n are o f n o a u a x n n u n o rt te, t l rg s p rtic l r e celle ce, a d

m a n h as b n o u r h f a h in o an b u din . Mo o Ger y ee c ie te c er rg il g re ver, it wo u ld appear that the u se o f Italian m u sica l term s is b eco m i n g léss f u ha G m an m n o o h d f u a . Not O o f g en er l , c rse, t t er ter i l gy, wit its i ﬁc lties o n a o n h u d as at all u i a b an m o ha n I a an pron u ci ti , is ere s gg este s t le, y re t t li .

2 I TI N AR F R 7 D C O Y O O GAN STOPS. wi n d was carried by a chan n el or lo ng c ap (as in the Fren ch Flute a e to m c ha f au o o n saw Tr versi re) a ou th u t l way u p the pipe . The th r ce ’ a n old f a t Mr B f h o o m n n fa . m o u o st p this fo r . i s cto ry The ths t ese a n n xam of F au o a n a n d of n cie t e ples the l t Tr vers o were g e er lly i verte , te co n sisti ng of a ro un d o riﬁce i n to which the win d was thro wn by a slo pi ng c a x d m -wa v i f o m ha f o o m m u u nd . o p, ﬁ e s eti es l y er, s et es j st er This type F u n a n n s V n na u a n m o n s , g o a F , d o f ou , n ot a ; tll l te e er lly k w ie l te , c rse h r ic is i o ccasio n ally em plo yed by En glish b u ilders u sually on the Choir o rgan for the f a o a b C on ac he r at a o I an d . It xa t s ke v riety y C stler ck, rel ) e c ly ’ “ " d ib m an of B ho G m an F u ou h o xa m o f escr es y is p s er l tes, th g ther e ples

Fi B —Flu e i h — — i F u e wi h Fi . E F u e i h g t w t F g . C l t t g l t w t o rdi nar m ou h ~ y t . i n v e rte d m o u th se m ic irc ular ih Wald are uab v e e d m o u h an d ( ﬂ , S e rt t e d e -sha e d o r Flute , w g p sla n ting ca p F au o T ra v ( l t e rso , Orche s ra lu t l F te ,

e tc . the la tter were fashio n ed like Flu tes with pa ra bo la - shaped heads (see also

METALLIC FLUTE . The V n n a F u o f h o h a ) ie l te is yp t etic l va lue. It is o ub om to m a an d o a n d th e o n b n o m an m a tr les e ke v ice, t e is y e s re rkable, “ ” but a t a to be u ff a n d d v o d o f p , r ther, very ﬂ y, e i character. There are n o u h a of F u o n d ff n ia d a n d a a e g v rieties l te t e, well i ere t te v rieg ted, an d m ore a o b a n ab to a f the m o xa n o f a m o o e sily t i le, s tis y st e cti g t stes re ver, it is quite a m istaken n o tio n to s u ppo se th a t all H arm o n ic Flutes are exactly sim ilar — in ua a a f o m d n o n O f o . S ca les A q lity p rt r isti cti p wer Mid. C Vie nn a Flute ’ i n h au ho o o n m ad in G m an m a 5 t e u 1 in . x 1 in t r s p ssessi , e er y, e s res 3 1 3 . The m o u h h m u a i s c u t u a b a 1 in t , w ich is se icirc l r, p re , . — n 8 ft. U n o n o m b n a o n a F u Fl a uto Un is o e is c i ti l l te .

a k . 1 6 f Fla uto n n e G d t. 8 ft. ft. n on m e c t , ; 4 Sy y ous, D l i m m h F au o u c o 1 6 ft. s o eti es, wit l t D IC TION AR Y O F OR GAN STO PS . 73

F l o t e F u l te .

F b ia ls im m e n l u Flu w r. La t e e o rk o r o m m F u o . Ge , s eti e l tew rk ( ) - o lip st ps) . A co llectiv e n a m e for tho se pipes po ssessed o f a ﬂ u e o r wi n d-way an d

' m o u h diﬂe rin f o m h in h h o n o du d b a v b a n t , g r t o se w ic t e is pr ce y i r ti g o n u o f m a The m Flu te wo rk is n o t ha as t g e et l (reed pipes) . ter ppy, Gam ba s an d sto ps o ther than tho se o f Flu te to n e a re in clu ded u n der the

h a - d n . I n ﬂu e as d m on a d b av a e C o in 1 8 0 E u d e i g pipes , e str te y C ill ll 4 ( t es E x ia 1 86 an d m n a an d n n n b Mr. H m an n m i h péri e t les) , i depe de tly y er S t 5, H S o n re c k f o n in 1 8 6 th n o du d b a f d O f err O C lo g e 7 , e to e is pr ce y ree ree “ ” a ir o r ec to a i d a d v b a n at the m o u h a n d n the , pl st c ree , r pi ly i r ti g t setti g

o u m n o f air in the i n o m o ion . Th O f o u o o d to the c l p pe i t t is, c rse, is pp se co n ven tio na l theo ry o f th e splitti n g i n to two Of the cu rren t O f win d b y the h h h r a o h k . lip , w et er s rp t ic

Fl u e a ri n e t F u e o r An a s F u e Eu h o n F u C l , l C g l i , l p e , l e O b o e - i e r. Lab a K a n . ( G ) i l l r ette, etc Th e au th o r o n ce sa wwh a t is term ed b y its m a ker (a Germ an b u ilder)

in w a n n n h v l - ﬂ u a . It as o o o d a owa n ha c u a e Cl r et pe w e pipe, wit ery d s rp t I n o n it o u d h a d b e a d to i m a a a n in verted lip . t e c l r ly s i it te Cl ri et an y “ ” an n ha it m o m b d was a b e e -i n -a— It m o re th a Ob o e, w t st rese le b o ttle . s adj u stm en t was su ch a s to ren der it liab le to b e thro wn o ff its speech by a

i h a u m u a io n o f du . Va iou o n ho v c an b e b u i u very sl g t cc l t st r s t es , we er, lt p,

u m o . AS a n x m n the a fo r s o lo p rpo ses, co p sitely e peri e t , let re der so u n d

O f the G a o a n H o hlﬂo te 8 ft. o h h m idd f h m iddle C re t rg , t g et er wit le C o t e n i ft In o m o an a Gam b a o n i Cho ir o rgan H a rm o c Flu te 4 . s e rg s t e w ll b e i n e o f the m o v a ua b o f ti m bre - a n ste s i distin ctly au d b le . O st l le cre ti g p s I n the m a ab o an b u b the Au n O a n u in tatOn . o . the Q re rk le rg ilt y sti rg C , n r H b Ma ha a M . . t R n O f for the A u CO . H ou gel s ( J er ert rs ll) eg e t se,

R n W. m a b e h a d a F u a n o b u u of the eg e t Street, , y e r l e Cl ri et st p, ilt p V ’ f H W f uin tatOn 8 ft. a n d io d Orc he stre 8 t. o tu a Q ; le err eigle, S ttg rt, u d u in tatOn a n d V o a to fo m a ﬂu e Ob o M a hu h h as also se Q i l r e ( ilit ry C rc ,

in t n a n d Fu a a to fo m a ﬂu e C o r An a Y. M b u an d u ta O . . A . Strass rg) , Q g r r g l is ( G o f the C or An l a the ff is m a u a . I n the a a b H all, St ttg rt) c se g is e ect re rk ly

The u i n tatOn o d on han the Fu a a . H Lau khu f g ood. Q is v ice str g er t g r err f, ’ h m Wii rtte m b ur who ho d H W E n h a n o f Wic kers ei , g ( l s err eigle s g lis p te t for the Ste n tor ho n has n Ma h 1 0 a n u m a n u rights p ) , rece tly ( rc , 9 5) t ke p the

h a b a d o v iz . factu re an d vo ici ng o f t ese l i l ree st ps, — La b ia l C l a ri n e t Vi o la an d Q u in tato n .

—V o a an d R ohrﬂOte La b ia l C o r An g la is i l . — La b i a l E pho n e Vi ola an d (s oft) Flu te y — La b ia l O b o e Vio lin e an d Q u in taton . D I TI N AR 74 C O Y O F O RGAN STOPS .

’ In ﬁn e n u m n at All o u hu ch Radfo d N o n am the i str e t S ls C r , r , tti gh ’ Mu H o hlﬂOte o n o m o n 1 0 the w l V o d rc he stre 8 ft. and ( ss C pt , 9 3) S el i le O

8 ft. a n d th n V f an d H o hlflOte 8 ft. ad d , e Co tra io la 1 6 t. were vise ly d Th d a n R AN GLAIS . e esig ed to pro du ce sim ilar effects . (See also C O ) i e u n derlyi ng the experim en tal u se o f these flu e reed sto ps is the i n vestiga — tio n i n to the po ssib ility Of dispen s in g with reed sto ps with their a ttendan t disadv an tages in the m atter o f co n stan t atten tio n an d tu n in g requ ired i n v a h ill g e c u rches an d o ther b uildin g s re m o te fro m the care o f a tu n er. F — l u f . M a t 2 t 1 6 f . 8 f ft. 2 ft. 1 ft and u on . e 3 t ; t. ; 4 ; ; . ; t ti A n i m fo r a ua o f o n o m a a i du an d o n ge er c ter q lity t e, c p r t vely ll cl yi g , w h b u t m a d v o m n f u a A o d n to the an n it s ll e el p e t o pper parti ls . cc r i g cie t m of a fi a o n th m F u om all o d a n d syste cl ssi c ti e ter l te c prised st ppe pipes, e v n S u h O n a m h n The a m a be a d to b e e c pe pipes s Ge s o r . l tter register y s i

c o m d u n d the h ad n f h D a a n o r in on . At a n prise er e i g o eit er i p so , str g t e y a far f Em a o n s a o n a m th o m b n a F u . o d a e r te it is r ei g l te pl ye l e st p e,

n a io n f th m F u is n d n . FLAUTO RAVERSO precise sig iﬁc t o e ter l te i eﬁ ite See T , a n d the a u i v rio s types Of Flu te deta led b elo w.

‘ Fl - - — ’ - - ﬁte a h e c q See P LAU P AB ECQ .

- - - — E i Flﬁfe a Bo u c he Ro n de (Fr ) Flu te with a ro un d m o u th . qu va W FLAU TO R AVE RSO. an hu h n u . le t to Vien n a Fl te See T esley C rc , W ig a n (C o n ac h e r) .

- - F LfJ T E A C H E M I N EE Chem i n ée chim n ey. See R O HR FLOTE

- - — v i . F LfJ TE A P AV I L LO N (Fr) Pa il o n b ell See B ELL D IAPASON .

E M m n T F L fJ TE A L L A ND E Alle a de Germ an . See FLAU O

TRAVERS O . — F l u t e B a s s See BASS FLUTE . — h F . o d F u . Fre ib ur a h d a z an F lOte B o uc é e ( r ) St ppe l te g C t e r l, Swit erl d. — Flﬁte C h a m p See FELD FLOTe .

l E n u N U o o n a . 16 ft. 8 F L HT E C O Q C iq e c ic l ; ft.

F u o f i n v d o n i a ha It d a ha n A m etal l te erte c c l s pe . yiel s very rd a d n u i ab a s a do u b o n o an o f o n d ab m a n fu o ud . p o wer l t e, s t le le rg s c si er le g it e

n W - H a Lo don i . u Pa av ai e o . Alb ert ll, ( llis, St S lpice, ris (C ll C ll) VE R E—S f F LfJT E C O U T t. i n v d M n a c r A a o n b . C o he o f H u speci l st p e te y essrs , ddersﬁeld. It r m b the F n h F u -a- h m n b ut of a a —a ese les re c l te C e i ée, is l rger sc le b ou t 4 in .

h . a t the CC pipe ( 4 ft. a ct ua l leng t ) The to n e is extrem ely liquid a n d

an an d O f o m o w . I n a d o n to b n f b rilli t, s e p er diti ei g O v a lu e as a c o m b in a io n a o the F u o u v fo m a m o ff v o t l st p, l te C erte r s st e ecti e so l sto p . Th e a re O f u tin h h m n f o m n o u pipes p re , wit c i eys r te r C pwards , a n d with

- d n a n i o for u a ion of h ROHRFL TE Th sli i g c ster t ps ( ill str t t ese see O ) . e D ICTIONAR OF ORGAN Y STOPS . 75

are a h d lips rc e . It is to be regretted that o n e rarely finds a specim en of t i a o f o in En h s cl ss st p gland. The Fren ch bu ilders of repu te u se the F u -a- h m n x n l te C e i ée l . F n odu ce d at D b Road a l e te sive y irst i tr er y Ch pe , No n ham Co n ac tti g ( he r, FLOI‘E D ’ A M — O UR S e e FLAU TO AmABi LE. FL — U TE D O U C E S e A T D L e FL U O O CE . FL fJ TE F O N D AM E NTAL E Fon m n a f n da e t le u dam en tal, fo u nda on - u n 8 f ti s pplyi g . t. A v a i o f H o hlflOte u d b M y . B ndl Fo o f h ffi d. r et se y essrs ri ey ster, S e el

F l ut e H a r m o n i u — AR M N I q e See H O C FLUTE. Flﬁte Ma u — g iq e 4 ft.

An o d n a F u n am d af the Zaub r i ry l te, e ter e rﬂote . Strassb u rg Cathedral fo m ( r erly) . FL fJTE O C T — AVIA NTE F . Oc tav ian te a n th o ( r ) spe ki g e cta ve. 8 ft f . 4 t. A v a o f Ha m on y Flu . The u Oc tav iante do m m e t riet r ic te tr e , very sel h sa id to ou h ou nd o n and n a wit , is ﬁrst t c the gr t e the le p in to the o ctave . An xa m a d to x at W a h n on m l U. S .A. Kim ba e ple is s i e ist s i gt Te p e, ( ll B ut ordi n a ril F u c ta i n y , l te O v a te is m erely an alternative na m e for Flute H a m n r o iqu e .

F ate u v e r u O te O O n . 1 f l verte pe 6 t. ; 8 ft. M a da o n ood b a NOtr D m P erely pe l pe w s s ( e a e, aris) o r the o rdinary c o m b n a o na u i ti l Fl te . FLU T E - P R I I A — NC P L 4 ft. also 8 ft A b i h ha d o n d F u o d u a l , u n o f ft. i to fo m r g t r t e te v ice s lly, whe 4 p tch , r a co m pro m ise b etween a Flu te an d a P rin cipal when b o th can n ot be v al pro ided (see so SOLO) .

' F l u t e T r v r s i é r — FLAUTO RAVE R a e e See T SO . — 1 O R DE N o n . . FIu ttu a n 6 ft. See C Ne u Ruppin —A F o u n d a ti o n S t o p s lso Fou ndatio n To n e . Fo u n da o n a m m o d in o n a-d s n n to M ti is ter e pl ye c tr i ti ctio u tatio n . ak n n ud all h o s o f h h Pro perly spe i g , it i cl es t se t ps the pipes o w ic speak a o n din to d d o r n f o o e o o a . h n o te c rresp g the key epresse , its ct ves T is will m i do u b u n o n o av u -o a e o the n - o n c o pr se le, is , ct e, s per ct v st ps, Twe ty sec d, m m all o a n ab o un o n ar na e tc . So eti es st ps spe ki g ve is pitch e i ccurately “ The m F n a n c lassified as Mutation sto ps . ter Octa ve ou d tio wo uld serve to draw a n ecessary distin ctio n . The Fo undatio n To n e o f the l m da F u m anua D ub D a o n n a a o o a 8 ft. o rga pr ctic ly c prises pe l l es, l les, i p s s ( ) fl t r b a—in fa m o n fi on Of o a a n d H ohl O e o Ti i ct the st dig i ed t e the rg n . Fou n dation to n e in Diapason s refers m o re especially to the dev elopm ent

a n d as O o d to e n s n r o n ua e . o f dig n ity weight, pp se ke , tri gy, o h r y q liti s 6 DI CTIONAR O F OR A - T 7 Y G N S OPS .

F r e e R e e d s .

n v n on o f f d a bu d to K a z n n The i e ti ree ree s is ttri te r t e stei , a Germ an bu d do m d at P n il er, icile St . etersbu rg u der Katheri n e I I (reg n a t 1 76 2 Seidel states that they existed i n an em b ryo n ic stage “ o m tw nd v o u d a ou l . The n s e h re ye rs pre i s y Chi ese, , o had an n u m n the e h n h wever, i str e t, Ts e g , repu ted to da f om n a 000 a B te r e rly 3 ye rs . C . Itco n sisted of h n n n n n n o r - t irtee , seve tee , i etee twen ty fo u r pipes of ba m bo o n d n , la o a a f ou d h a m ou p te h l g r , wit th a a h At fo o o f th piece tt c ed. the t e pipe was a me ta l f d n o b a o n ree ree , set i t vi r tion ly whe n the ho le at the fo o of the wa s o d b the n the t pipe cl se y fi ger, breath b n dra wn i n a nd n t xha d h n ei g , o e le , w e The free reed wa s popu la riz ed by the celebrated Ab t Vogler ( 1 749 B ut a Fren ch m a n nam ed Gren ie was the first to set the u se o f free reeds u pon a H u i n m a n u f an equitable b sis . e s cceeded a ctu ri ng “ ” a fiv e -o ctave co m pa ss o rgu e expressif with well 0 An m a n reg u la ted free reeds in 1 8 1 . A eric Citiz en n am Aa on M Pe ase le in 1 8 18 B n ed r erril y, ; er hard E h nb a h of KOn i shof n Gabfe lde in 1 8 2 0 an d sc e c , g e , , ; n o n Ha o f Vi n na n 1 8 2 1 a b u A t ckel, e , i , lso ilt reed ’ ‘ n Wh a E h n ba h z Eo li ne or [Eo lo dik o rga s . ere s sc e c s o n ’ was x Hac ke l s o n a Ph sharm o n i e pressive, rigi l y ka was xam f th e m od f n ot. The first e ples o ern type o free reed to —be in serted in the o rga n were tho se i n trodu ced in 1 8 2 2 at B au a a h dra F an . F d 7 9 e v is C t e l, r ce ree ree s Ham 1 8 6 were practically perfected by M. el ( 7 R I E N I M ETT R EE D LA N T C OR A GLA S US E. See , C , ,

H a r m n i u F F r e i n o q e rein,

b d u b . Ha m o n i u ha m ri le, c r r q e r o n ic.

See B EAR D . — Fre n c h Ho rn 8 ft. The accom pan yi n g illustra ti o n is that O f a treble C

n h Ho n i . h o the n v n ion o f M Fre c r p pe T is st p, i e t r. m on of No in ham v Jo h n H . Co pt , tt g . gi es a very a hfu n a o n Of o h a F n h H f it l represe t ti the rc estr l re c o rn . The im itatio n of this in stru m en t has b een the ideal

h H o rn for h h o an b u d ha for m an a b n Fre nc . w ic rg il ers ve y ye rs ee (Co m pto n ) . iv n t h a a b a u of str i g . I s c r cteristic e ty ton e is su ch as

T P n o Au . 1 th 1 0 . An ar icl e b the au hor From he re c e t r, g s , 9 3 t y t . ' i o rk 1 Se e Bib liog raphy in tro ductory to th s w . D I CTIONAR Y O F ORGAN STOP S . 77 to am u s f o o f th e o h h n d d a h x n v b ply j ti y the c st st p, w ic is re ere r t er e pe si e y

a on Of the m m n o u n d- Th b re s i e se s b oard space o ccu pied. e tre le C pipe

2 ft. i n n WA LD HOR N . o u b an 6 in . a o the b . is 3 l g (t e) , d cr ss ell See , D OLCE VVA , LD FLOTE .

' Fro n ti i iu a b a n t u o s e c io s p c m Fro n s fron t . Spe c to ( zq p ) c E f . . n . M NTRE . view f g ) ro n tispiece . See O

Fu h hw z —Fu c h c hw n r an z a c s s n s k Ge . Fu h fox c a s a . ( ) c s ; Schw t il ; an Schw k j oke .

On e of the stran g e a ccessories so m etim es fo un d i n Old Germ an o rga n s . “ " A sto p-kn o b b eari n g th e in scriptio n N o li m e tan gere Do n o t t ou ch wa s a a h d to the o n s a f r h i u o o n who tt c e c so le . A reward o t e r c ri sity, pers s ,

a dl O f h n u n o n o u h d th e kn o b th b f th e a h reg r ess t is i j cti , t c e , ere y set ree c tc

o f a n au n a hu fo x ai t ﬂ o u t n o h i fa . o m m spri g , c si g ge t l o y i t t e r ces S eti es the fo x a was m a a h h n H av n o n d a n t il si ply tt c ed to t e sto p k ob . i g ce r w

the a o u t O f the am b it was a m a o f o m difﬁ u to a . t il j , tter s e c lty repl ce it

M an h l the a a n u wa u b t th haff Of his o m ad . e w i e, rec lcitr t c lprit s s ject o e c c r es “ ” h a fo x a n a the d a f P e rke o ua din the r a Tu n at T ere is t il e r w r , g r g g e t

Ham b u . H b a . An d a E fu . G u d eidel erg C stle St . re , r rt ; St ertr , rg — F m i A . n a ft. FU GA RA H o rn Gam ba . o r erly T b ia perta Ge er lly 4

o m a 1 6 ft. s etim es 8 ft. r rely i a u a m u h A Gam b a o f ho n a h han n o n . It d a r y, r t er t kee , t e spl ys q lity c fa ou d i n m n i n i a fu th En liSh e ar In v re Ger a y b u t d sti ctly d st ste l to e g . fo m m a i n m o f a m ho n r er ti es , the Fug a ra o cc s o ally po ssessed o re Ge s r u a i w n q l ty ; it as als o so m etim es co m po sed o f wo o de pipes . The latter a io u ha b n v n a n or o f ia n u a fo m Th were v r sly s ped, ei g e e t peri g , tr g l r r . e H o n am b a as m im fo u n d i n H o - o n o an f u i r G , so et es pe J es rg s, is o q te a

diff n ha a It m o m u a . ho u h ho n in a n ere t c r cter . is re sic l T g r y se se, it is ha m i as a D o i h n o t d. I t a b e d b d d a b a n r y escr e lce p pe ﬁtte wit e rd, a d - P a h h h H - am b a in n . Ro ham o n u o o n G e d to e e pt ris C rc , ( pe J es) . ' — f f o n . b a . ft. A F u O u FiJ IIﬂ Ote 4 l te ll t e Trie el , Silesi

r —A M x u o f D a a o n a n n d d to F u l l M i x t u e i t re _ i p s sc le i te e f a n d x n d the o a n o n a s O o d to ha Mix a m pli y e te rg t e, pp se S rp tu re h f r an . The an o a n o t which adds brilli cy r ks, t ere re, e pitched so

high as tho se Of the latter .

— - n a a d Mr H o n Fu n da m e n Re e ds The n am e orig i lly pplie by . pe Jo es to

f - n d v a i Of d n u a v ery sm oo th an d u ll to e r ety ree , i cl ded in m o st o f

U BA ON OR A. his i n str um en ts . See T S

a Can b e rr . Fu n da m e n ta li s Pri nz ip l . y

— A fu - o n M x u f n i F u r n i t u r e Fo u rn itu re . ll t ed i t re o co s dera ble

‘ A o b ho u h ha a h far-f h d d v a o n po wer . p ssi le (t g , per ps , r t er etc e ) eri ti r fou n to u f o m the fa ha the o u is ( F . ) r ir s pply ; r ct t t st p s pplies

a b a n add n a ab to th e o n . gre t rilli cy, i g ppreci ly t e 8 DI TI N AR 7 _ C O Y o r O RGAN S TO PS .

G . — A M x u a t . M n th Ga lo n b e I o Ou n R ou n . M. Mu e su i t re st p St e , e ti , c

- r . wh u i c e sso s to MM. av a e o o b o an are u n a C ill C ll lt the rg , ble to su pply the au tho r with an y i n fo rm atio n co n cern i n g the co m positio n h r h o f t is sto p o t e o rigin Of its n am e . — G a m b V o a da Gam b a V o a n Gam b a . a o VI a , i l , i l , Stri g See ls OLA

D A AM . 1 6 ft. i f . G BA 8 ft. ; o cca s o na lly 4 t

The o n Of the V o a a a m i i h B t e i l d G ba s ak n to that Of t e Vio lin . ut ” th e effect o n the o rg a n m o st su gg estive o f di v ided o rchestral “ stri ngs is o b ta in ed b y the u se o f the Vo ix Céleste sto p with a keen Ga m ba o r ’ V o d h Th f l i le Orc estre . e Ga m b a is O s m a l er scale an d less po werfu l to n e han the D a a o n is v o d n i h the u a a r t i p s ; it ice kee , w t pper p rti ls p o m in e n tl d v o d at the x n f the o u n n Th m u h y e el pe e pe se o gr d to e . e o t is k l w Th o . e o b m a f in r a m b a f ept st p is est de o t o spo tted m eta l. G s o fai b a a ha u fu b n m ad Of o od b h u z rly li er l sc le ve s ccess lly ee e w y Sc l e, Bo o th o f Wa keﬁeld) ; b u t th e sa tisfa cto ry trea t m en t O f s m all-scaled wo od

b n - n h n u m o u n ab d fﬁ u th v W tre les prese ts well ig i s r t le i c lties to e o icer. o od b a a re o m m u d b u t h a a n the dif u o f o n x m sses s eti es se , ere g i ﬁc lty v ici g e tre ely s m all-scaled wo o d b asses is s u ch as to ren der them ill-adapted to m a tch V th e o n Of m a m a o . h ho v a a i fa t e s ll et l i ls T ere is, we er, very s t s cto ry wo o d V m i b ass to the Swell Co n tra io l a v o iced by Mr. Co pto n n the o rg an at All o u R a dfo d N o n ha m Mu o n Sr o m o n m a u in u t S ls , r , tti g ( ss C pt ) , e s r g b i Th G m an Ga m b a is ha x n n I n . a t . e n a d the % CC er (a ) ppily e ti ct,

7L a n n a m . r v arieties kn o wn a s B ell Ga m b a (4. ) d Co e G b a (4 7L ) a e b u t

in f u n m o d. Of n a the O ld o o u Ga m ba req e tly e pl ye rece t ye rs c l rless s, u iv a h o f H o n D a a o n a n d u ua a n d d b ha dis s ggest e r t er r i p s s , s lly tte e y t t “ ” i - a e a b d f o f S e h n o n as n ha n h d a a . gr e le e ect p ec k w sp tti g , ve well ig is ppe red T n du o n o f k n ae the ria l n o n n d d o b b th he i tro cti ee stri g t es , re ere p ssi le y e u se O f the Bea rd co n stitu tes o n e Of the m o st rem a rka ble dev elo p n Th m en ts o f m o dern o rga n to e . e m o st recen t a chievem en ts in this “ ’ " re a e d O f a a u n d th e h a d n V o d h respect a tre t sep r tely er e i g i le Orc estre . t v b o n m o d n Ga m b a o n o m b n x n h m When n o o er l w , er t es c i e e celle tly wit o st h wa f a t o ther sto ps . T ey a re in ev ery y pre er ble o the O lder v a riety (b u t

ft. h the m a n ua Ga m b n AMBA . I n 8 a ow a a se e B ELL G ) pitc , l is pr ctic lly the a n d ho o an hav n b n x u a co n fi n ed to Swell C ir rg s , i g ee e p rg ted fro m the m n Great a s i nj u rio u s to tru e Dia pa so n to n e . C o bi ed with D i apaso n s o f Ga m ba a n x a m o rb ific in u n n th e o rdin a ry type, s cert i ly e ercise fl e ce o the fo u n da io n o n b u t to th e m o d n fu - o n d a h d D a a o n g e n eral t t e, er ll t e le t ere i p s o n o f a ain wh n u d io u b n d d u n d a n S trin g t e cert species , e j ic sly le e , is , er cert i

n h i h b n a . I t a fa ha in o r o d D a a o n co n diti o s , g ly e eﬁci l is ct t t str g y sl tte i p s s “ u b ha n ho O f th e u u a f d a n d in ar b u ild p etter t t se type s lly pre erre , p - i n tic ular b le n d b etter with b right to n ed P r cipals . U n less a seco n d

8 0 D I CTION AR Y F O O R GAN STOPS . E d k — ED ( Ge c t See G /CR T . - — Ge da c kt B o m m Fo r 8 ft. e r derivatio n see BOMBARD E .

to n e . A o d i o f h n am P st ppe reg ster t is e o cc urred at St . eter

a n d . P au Go z a a n St l, rlit (G sp ri i , It has been S tated ha it o -b n o the ha m on th f h ha t t ver lew i t ﬁrst r ic, e twel t , t t it

was ua a ha m o n o d f h n n virt lly r ic st ppe Twel t , a d therefo re, a ’ a n i a n Mr o Of . h n n Zau b rﬂ t W tic p ti T y e s e O e . erkm eister, an d a f him H am h o v a o f as a uin tat n . ter el, we er, spe k it Q O Certai n ly the n a m e wo u ld seem to im ply a coa rse-to n ed G da i h the f h so d v o as t u h e ckt , w t twel t e el ped o s ggest t e “ ’H t d a Of a rowlia n h o . n t h h u d i e g g t e O e w o le , t ere wo l seem to b e n o adequ ate grou n d for a ssu m i n g th e en tire m n a o n o f th fu eli i ti e n dam en tal o r prim e to n e o f th e sto p .

e dam f -R — - t R EGAL . G p e g a l Ge de m pft Regal . See

k - a k i l G e d e c t G d o d D a a o n . d e c t, St ppe p s (O

e r. r. G G da Ge r. G d k ov d . Ge ) e ckt, ( ) e ec t c ere ( ) D n to o E n n —a xo n ecke c ver ; cf ( g ) deck . (A glo S )

The c c an f o m hi h a o d v d E n ha h. , r w c is ls eri e ( g ) t tc

8 ft. 1 6 ft. ft a 2 ft. ; 4 . r rely I n the a Of the n a m o d D a a on the o d c se e, St ppe i p s , w r D a a o n is u d i n the n f a S an da d th i p s se se se o t r , e reg ister b ein g to sto pped ﬂ ue pipes wha t the D ia pa s o n is to o pen

ﬂu e . B u t the i a t to b e m ad n in the pipes t tle is p isle i g , s ce o n o f th i n w It t e e sto p n o ay resem b les D i apa so n to n e . m i h h f u o b e m d to a . It u o g t well, t ere re, per itte l pse is c ri s ha the a fo m o f o an i kn o n the P an d a n t t e rliest r rg p pe w , e P w i w th i a s o d. F o m t as v o d e o n pe, st ppe r e lve pe pipe , an d the o d i a s kn o n to -da wa s n o t r - n v n st ppe p pe, w y, e i e ted V Th f un til the clo se o f th e X th cen tu ry. e Gedeckt is o r m ed

O f i f rm a I n h n f st oppedp pes O wo o d o et l . t is co u try the o rm er m a teria l is rapidly b ein g discarded fo r this sto p in fav ou r o f th e latter ; b ut if the sa m e effect is to b e g a i n ed the m etal m u n f m hi kn I n v o f h fa it is st eeds b e O so e t c ess . iew t is ct altogether qu estio n a ble whether the wh o les ale discardm en t

Of wo o d is a Chan g e fo r th e b etter . The b a ss o f m eta l

Gedeckts is gen erally m ade o f wo o d. The sto ppers O f o o d i are o v d i h a h h h f m a w p pes c ere w t le t er, w ilst t o se O et l a re n wu u a n d i h o k a a pipes o s lly li e w t c r , pr ctice in tro du ced Wi i b . The O f m a G d a re f thi k y ll s lips et l e eckts le t c , an d f ll The m u often n ot ﬂa tten ed i n to a lea at a . o ths are c u t u p

B um m n o ro wl or m u e . (Ge r. ) r e t g tt r D I TI NA R F R N r C O Y O O GA STOPS . s

h s a o f the igh . The c le Gedeckt varies co n siderab ly acco rdi n g to the po wer an d u a o f o n u A of - on d q lity t e req ired. s t t e G d u ab to the o r ho n o n as L b h e eckt, s it le Swell C ir, is k w ie lic n It u a m a f m a . M n v o Gedeckt. is u s lly de o et l oder icers g e er ally provide th e Gedeckt ( u n less Of v ery larg e scale) with pierced sto ppers like the Ro hrﬂOte A larg e-scaled d h h r a h i n v o was Ge eckt, wit t ick o le t ered l ps an d disti cti e t ne

- h i n n d b Mr. H o o n an n a m a au a o ve te y pe J es, d ed Tibi Cl s t er

n hn H . m o n u n d v a rieties a lso were i tro duce d b y Mr. Jo Co pt he n m f i i M n n An x n t a es o T b a i o r a d Tib ia Mo llis . e celle t e ffect is O b tain ed b y v o ici n g the Swell Gedeckt fu ll an d liqu id i n n h the f h v d W n o d o . h so a d t e, wit twel t well e el pe e tre te a u a u fu in o m b n a io n a n a s a Of it is p rtic l rly se l c i t , cti g so rt “ r - A h i h n ti m b e a o . o L b o the o h han d m h cre t r C ir e lic , t er , ig t

b e b h a n d i h the f h a n d. The o d rig t cr sp, wit twel t restr i e St ppe D ia paso n s o f the ea rly E n glish b u ilders were frequ en tly v o iced wi h the f h v o m in n d o d h n h t twel t ery pr e tly evel pe , e ce t eir

x n b n din o . h in d d v ua e celle t le g pr perties T ey were, ee , irt lly

' n tz l e r n n d m o in ta r h Q u in ta tOn s . S e i cli e re s e to the C im n ey BOU R D ON D OP P E LGE D AC KT G RO B -G ED ACKT R O F u . G S S l te See , , ,

E D A KT KLE1N - GE D ACKT LIEB LIC H ED E KI’ ‘ MITT G C , , G C , EL

ED AC KT TI LL -GE D ACKT IB IA C LAU S A I B IA MI N OR G , S , T , T , l s — l E n h M LLIS . S ca e O d I B IA O : in . x in T glis type CC, 5 4% . Lo w m o u th an d lig ht wi n d press u re Mo dern style : CC LI E BLI H ED E T a x i n . C G C K . 4 i n . 3 See Sc les

— k I e dac tﬂ te . L E B LI H F G e de c ktﬂ o te G o See C LOTE .

P r i i —V o n D ia a n G e i g e n n c p a l i li p so .

Vi n f . f . Ge r. G o . 8 t t o a io n a 1 6 f ( ) eig e li 4 cc s lly t.

A o m dwa in o n b n D a a o n an d a m a st p i y t e etwee i p s G b , n a The u ra ther m o re keen than H o r Di paso n . tr e Geig en is a fo u n d in E n a n d is a h ha n ho n a n th r rely gl it ﬁery r t er t r y, d e

u ua b a d d h a re x n m n b a ss is s lly e r e , T ere e celle t speci e s, e at Ba a P o hn B a h n n v o h o w ver, tterse lytec ic ( e le T y e, iced Wh All o u N o n ham Mu o n o m o n b y iteley) ; S ls, tti g ( ss C pt ) ;

l n R o o n aff . B n n . The o u u a fo u n O u to cks , St e, St s ( i s) st p s lly d u n der this n am e in E n glan d is a Dia pa so n re n dered ho rn y an d in A m a - a d D a a n f o bjectio na b le by slo tt g . s ll sc le crisp i p so O slightly stri ngy t o n e fo rm s a n excellen t Cho ir o rgan sto p a Pa h hu h B u o n -o n - n N o m a n B a d an d ( g , ris C rc , rt Tre t, r e r

- In ft. h fo m a n x n o a H o pe Jon es) . 4 pitc it r s e celle t ct ve sto p D ICTIONAR O F O R GAN S TOPS . 8 7. Y

G n P n a 8 ft. m a u GA MB A . in the Swell (see ) eig e ri cip l, , CC e s res —1 n d Fo . in . B in B ho in . o m o n 4 . ( is p) 4}1 (C pt ) ; 54 ( ri ley ster) 1 u a r 3 c u t u . ft. 2 in . Mo u th u s lly o , p 35 4 C , %

- — A Ge ig e n Re g a I See R EG L .

— o r de ham o s G e m s h o r n An cien t n a m es ( Fr. ) C C i ’ ’ h o a ho n . Ge m ste r H o n n Ge r. o n . g t r ) , r lei ( little r ) Occa sio n ally the title C o ppe lﬂOte (co u pli ng Fl u te) was h n Ge r. G m oa . T e applied to the Gem sho r . ( ) e se g t h sto p was n am ed after the ho rn Of th e g o at erds . f A a fo u n d in 1 6 ft. 8 ft. ft. 2 t. 1 ft. bro d, it is ; ; 4 ; ; ; a n d Mu a io n h b u t in h o u n is a m o t t t pitc , t is c try it l s

h . i n v a ria b ly o f 4 ft. pitc

Th e m ho n hi h was n v n d b fo the m idd Of Ge s r , w c i e te e re le the X VIth n u is O f o f a n d d o n a an d ce t ry, s t ree y t e, very cle r h i o n to the sweet . H elm h oltz attri b u tes its c ara cterist c t e

a u a v m n f h ha m n : a o a n d p rtic l r de elo p e t o t e r o ics tierce , l rig t , w s a F u u it ﬂat im . Th o as fo m a d a b t sept e e st p r erly cl sse l te, is assu redly m o re rea so n a ble to g ro u p it a s a strin g -to n ed o r a h a n h D ia pa so n sto p . The pipes t per as t ey sce d till t e dia m eter o f the bo dy a t the to p is a b o u t o n e -third o f tha t at Th m h n f m a u fu ho o a n o av the m ou th . e Ge s o r o r s se l c ir rg ct e It a o W ada d to the o f m a o an bu t Sto p . is ls ell pte Swell s ll rg s in in stru m en ts Of m ediu m si z e a Geigen Prin cipal is pro b a bly h m o ff S in the o n o f the G m ho n a t e re e ective, ce t e e s r is sc rcely Th' m h n f n O f th e requ isite deg ree o f bo ldn ess . e Ge s o r O E g lish o a n n d d u ua a o u d P n i a n d d Swell rg s, i ee , is s lly l ri c p l , re ere n i n i Th ho rn y (a d pro b ab ly O bject o a b le) b y b e n g S l o tted. e i m 2 . i H arm o n ic Ge sho rn ft s o cca s o n ally m a de . O n e particu la r exa m ple at R u gby Scho o l Chapel ( B ryc e so n ) Stru ck the a u th o r as pro b ab ly th e m o st effectiv e Swell su per- o ctave St o p h e had The G m ho n is a m o d a b o a i n h eard. e s r l rgely e pl ye r d Mu ta tio n o k h a s G m ho n u in a n d f h i w r , c ieﬂy e s r Q t Twel t ; it s less f u n u d fo r th e i a n d n - req e tly se T erce Twe ty Seco n d. I n the latter ca pacity it is to b e fo u n d a t the L u thera n C hu rch — , Walc k r . a d f E . e S a t. i L m a n in . a t m o u h e Street, ( ) 4 p pe, 3 t , 2 Ge shorn . m Mo u h u u a o r 1 c u u 1 i n . at to . t }7 p t s lly “ p if .

— h Ge m s ho rn q u int A Qu i n t o f Gem s o rn pipes . — h a . GE MS HOR N Ge m s te r Lu cern e Cat edr l See . — E R M A N FL U T E F u A em a n d . FLAU TO R AVER G l te ll e See T SO , and F also ZAU BER LOTE .

8 AR R AN 4 D ICTION Y OF O G STOPS .

The wo rd Gra n d is also so m etim es to b e fo u n d a pplied to the chief “ ” m At B m n ha m a nd an u al O f an o rgan i n stead o f the term Great . ir i g

L d o n Ha the G a o an was fo m n a m d the G an d o an . ee s T w lls, re t rg r erly e r rg The latter desig na tio n is also som etim es atta ched to i n stru m en ts o f la rge z in a in n ha an d in F an the o d G an d u d to si e, pr cip lly co cert lls , r ce w r r is se in f m h i n h ho dist g u ish the west e n d o rgan ro t at t e c ir.

—A two - an M x u o o m o d o f G r a v e M i x t u r e r k i t re st p, c p se O n am d in o n adi n io n Twelfth a nd Fifteen th o n o n e slider . S e c tr sti ct

to ha Mix u o n a o un Of the a o r fu ff im a d S rp t re, cc t g r ve ll e ect p rte

RA S H I NT . by the Twelfth ra n k . See U C Q U

G ra v i s s im a v ery deep .

n t r a h d a The n am e applied to the 64 ft. Resu lta t B ass a Wo rceste C t e r l H o - o n ( pe J es,

— AC ST I B A G ra v ito n e See OU C S S .

u an in th o a n at the o n The title g iv en to the 64 ft. res lt t sto p e rg Co lst a B m n a H ll risto l (N o r a Be rd) .

— MA R B G r e a t B a s s See JO Ass .

r G é le ha il .

R a i i hai - o m ff u d b m a n o f a o a n d u m d e l st c l st r e ects, sec re y e s r t ti g r ﬁlle

: h a M . Ma n . 8 o o Of n a ha u d wit pe s essrs skely e C ke, rece t ye rs , ve se m a d v at th E n a H a P a W. u P i e d . a si il r e ices g ypti ll, icc illy, St S lpice, r s f ( o rm erly) .

G ro b rough.

A x i n di a n n h a n d in o m hn f a o u o o n . preﬁ c ti g stre gt , s e c ses r g ess, t e

r - m b r -M x u r ro b -P - G o b C e l , G O b t , G o s a u n e , Grob Re a l are y i g ,

also fo u n d.

- da kt—A G da k o f a a an d o fu n o n a i GrO b Ge c e c t l rg e sc le p wer l i t t o n .

G R O S S g reat . A x Si n f n u ua su b -o a h b ut o m im preﬁ g i yi g s lly ct ve pitc , s et es equ i v ale n t

to Gro b . — 1 ft. G R O S S FL OT E S ft. ; 6

A o fu m an u a o r da F u m ad om m as a Do lﬂ p wer l l pe l l te, e s eti es ppe o te . f n m d in Am a The n a m e is o te e ploye eric . — — S S E D A K T S f 1 6 f . G R O G O t. ; t

- A 1 6 ft. G da o r d n i a h G o b G da k e ckt, i e t c l wit r e c t .

- n k r an d ro s s -Re a a re a o fo u n G ro s s Ra e G g l ls d. D ICTI 8 ONARY O F O R GAN STO PS . 5 H Ha h n co ck . A o fo u n d in o m a n n o n n n a o an m a iv of the st p, s e cie t C ti e t l rg s, i it t e cro wing o f the co ck to an n o u n ce the da wn o f day (particu larly Christm as Da ’ o r m n n of . P M u a h d a y) , re i isce t St eter s Den ia l . agdeb rg C t e r l

Ha i — GR LE l See E .

Ha th a f Ha b h l . A preﬁx equ iv alen t to o cta v e l ‘ rirIz i al p p ) .

H a l f s — R H R L TE t o p p e d P i p e s See O F O .

Ha f - rin r e n P z ipa l H arte ha rp. A n to n -P n h h n a a G z a . A n f to a ft. N a o t G ki eig e ri ip l dlu g re ers 4 c t r er , m n n b a ha i th t B a u . rese li g rp e o p o ctav e . resl — - Ha rfe n Re g a l See R EGAL .

H A R M O N l A E T H E R I — m n h A Ha r o ica E t eria .

' a M x u It n a m d h a s f u i n A delic te i t re sto p . is ge er lly a e eit er a so t D lc a a - h u i a i Mix u o r d n o f in o n d . It v u d n a t re , eﬁ itely str g t e pipes is t s rt lly i e t c l h E h - n r a n o o o D u an a o n . N d to s a u h o wit c C r et lci C r et ee less y, y s c st p,

h n o u n d a m o u fu a d u n to th e o an . ad ha w e pr perly t e , is st se l j ct rg St t lle,

H eidelb erg (Vo it) . — H a r m o n i c C l a r i b e l 8 ft.

a a n i na la - a m n i A n m e i n tro du ced b y Mr. C sso to des g te a rg e sca led H r o c W l F u u l u Of hi k fu o n . The a b u a a m a o Fl te t c , ll t e i lis Cl ri el l te is s ly et l st p , h wa s a o an xam O f the Ha m n o f harm o n ic stru ctu re . T ere ls e ple r o ic

h H - n -D n m a n a n at H o n a b u h i in t e o o o o o . Cla r b el pe J es e rg ly Tri ity, Sc r r g i n h an a n in an o f the Ha m on a b 8 ft. t e o a t the There is st ce r ic Cl ri el, , rg o o n H a B i o N o m a n 8: B a d It a o o d a b l C lst ll, r st l ( r e r , is w Cl ri e Th i h n v d m o u h a n o n 2 0 in . n d. e o h h s Flu te wit i erte t , spe ki g wi st p, w ic

O t v a a i s o f do u b n h f o m m id. u a d ,, ery l rg e sc le, le le g t r C pw r s P — H A R M O N I C D IA A S O N S ft.

h d o h h as the o u o m O f a n a m to Ob a n o fu A ybri st p, w ic , tc e tte pt t i p wer l

n f m i o f ha m o n i o n u o n v u a a v Dia paso n t o e ro p pes r c c str cti , is irt lly ery

- ha m o n f o m ﬁ . H a m o n F u . Th e are d G . coa rse to n ed r ic l te pipes r ic r , “ E o r F u a d the b a b in u b b i n a an d o n . The m id. C, pw r s , ss e g t y sc le t e “ H a rm o n ic Dia paso n was a pio n eer a ttem pt to produ ce the big fo un h an w- - i f th m d n En o . No a da to da tio n to n e so cha racterist c O e o er g lis rg ys, f u to o in the O o d io n pro cu re this desirab le eat re, we set w rk pp site irect ,

en deav o u ri n g to secu re weight a n d depth . o f to n e ra ther than m ere h o a s the a h d D a a o n b ia P n a sten t o ro pho n ic n oise . Su c st ps le t ere i p s , Ti le , h in h m a a n o f n o x a o d a Tibia Min o r, etc . , w ilst t e selves pp re tly e tr r in ry 8 6 D ICTION ARY O F O R GAN S TO P S .

- n n m o a n d m u i a ar n v h o d power an d pre em i e tly ell w s c l, e e ert eless p ssesse o f far a a in an d av n o a n d x a m o b n al gre ter perv d g tr elli g p wer, e ercise re e eﬁci n u n n th n a on ha n b u n S o of the H a m o n i i ﬂ e ce o e g e er l t e, t l steri g t ps r c In a O f a m a a m a n h the u Diapa son an d Ste n torpho n type. ste d lg ti g wit tr e o an o n the H a m o n i D a a o n u h o u h it b n au o u a n d rg t e r c i p s c ts t r g , ei g r c s - Ma 8 P o n t u n du f a v . . o u m b o o n a 1 a ly sel sserti e St C l j r, C r w ll ( 77) isley C cer

H all ( 1 88 2 ) R ugby Speech R o o m All by B ryc e so n .

H ar H a r m o n i c F l u t e Flute H arm o n ique ; (Ge r. ) ‘

ﬂ t . F u A m n 8 f . ft. I n v n d b m o ie O e ; (Sp ) la ta r on ica . t ; 4 e te y

- H AR M N I I P V R . Ca va ille Co ll . See O C P ES a n d FLAU TO T RA E S O

' The o n O f the Ha m o n i F u a s Of m o ﬂ u e c an be v a d t e r c l te, st pipes , rie

o n d a b in o an d to o m x n in u a b u a n the c si er ly p wer, s e e te t q lity, y reg l ti g

h f h m o u h . I n f h n th widt o t e t 4 t. pitc o e Grea t o rgan it fo rm s a sto p n v a u ab for a o m a n m n a u a a n d o v d n t u n u i l le cc p i e t l s g e, , pr i ed it is o d ly i o fu b n a in o m b n a ion . I n 8 ft. i h i u i a p wer l, e efic l c i t p tc it s n ot v ery s t ble to the G a o an for if uf n o fu to be v i a b is a t re t rg , , s ficie tly p wer l ser ce le, it p “ ” to n d the D a a o n o n m u dd a n d ain do n o t u a s re er i p s t e y, cert ly es s pply “ ” a n n m u ch b ody d filli g po wer as a H o hlfl Ote o r Ti bia . When i n co r o rate d i n the ho o a n the o u u a n a m d F a u o av o a n d p C ir rg st p is s lly e l t Tr ers ,

m a d o f ft. ho u h o a o n a o f 8 ft. i h . The ho i o a n a u o e 4 , t g cc si lly , p tc C r rg Fl t Trav ers o is o f qu iet to n e a n d v o iced with m o re chara cter than the l a rg er scaled H a r m o n ic Flu tes . The So lo o rg a n H a rm o n ic Flu te is po werfu l

a n d i m a o m ha b o o tin in o n . It o m m n o d leg ti tely s ew t g t e is s eti es e cl se , n t I t o u d a n m m o a i f so m etim es o . w l cert i ly see re s t s acto ry to e n clo se o o f hi C a a k in o n a n a n d u n m a h i b u din fo r h st ps t s l ss, li e res t sy p t et c il g s , t e T sake o f the expressiv e facilities thereby o bta i n ed. he H arm o n ic Flu te co m b in es effecti v ely with su c h im ita tiv e an d o rchestra l reeds as the Vo x W u m an a O h a Ob o Ba o o n . h ain f H , rc estr l e, ss , etc it cert types o th e Vox i m bres m H u m a n a n d d m o u a t a b e b u u . Man , i ee , st pec li r y ilt p y c o m b in atio n s o f h a a re n ha n d b th e use o f the m u an u n t is cl ss e ce y Tre l t, po th e d an d o o f h h h u is a l d n da n spee p wer w ic t eir s ccess l rg e y epe t. When en clo sed there c a n scarcely b e a n y o bjectio n to th e lo west o ctav e o f the

f v a i b n o m o d o f o d . H a m o n F 8 t. r ety ei g c p se st ppe pipes r ic lu tes m ay b e

o f v fu o n o n o r i u id a n d b i h . An n a n o f the fo m ery ll cl yi g t e , l q r g t i st ce r er, i n h a h d m a b e h a d to adv a a a t . h n Wa n wit le t ere l ps , y e r t g e St Step e , dswo rth,

Whi a s a G a o an ft. o hi x W. o o d a m S . ( teley) , re t rg 4 st p ; w lst g e ples o f the a v a i m a b e o f n n o u n d i n the o k o f M W l tter r ety y te e c tere w r essrs . alker

" k M n M W m n Yo . a a . m n r i ster ; St rg ret, est i ster) Speci e s O f ea ch ki n d r u fu in a o a n h o u h the fa m u n o t be i n a e se l l rge rg s , t g ct st g o red tha t the liqu id a n d b o o tin g style Of Ha rm o n ic Flu te o wes its su ccess fu l effect to fav o u ra ble a co u stica l co n diti o n s fa r m o re tha n to a n y pecu lia rly m erito ri o u s At the P a i h hu h H u kn a o ka N i v o n . d o n ha m ici g r s C rc , c ll T r r , tt g (Mu sso n

- m o n m a be h a d S id b . d a n x din Co pt ) , y e r e y si e e cee g ly fu ll t o n ed S o l o

8 8 D I TI N AR OF O R AN T C O Y G S OPS .

H a r m o n i c P i p e s . P ipes so treated as to Speak their ﬁrst u pper partial i n stead of the W fun dam e n ta l o r gro u n d to n e . o o d Flu tes cau sed to o verb lo w b y m ean s o f a lowm o u th a n d co pious wi n din g date fro m a co m paratively ea rly perio d

i n Germ a ny (see FLAU TO TR AVERS O) . The idea o f e m ployi n g harm o n ic on fo r the a o f n a d o in the b o f S o o h h t es s ke i cre se p wer tre le t ps, t get er wit the in v n o n o f th e m hod n o wi n o u fo r the o du n o f u h o n e ti et v g e pr ctio s c t es ,

- is du e to the a M . A id a a e o ha in b n m b o di d in l te rist e C v ill C ll, v g first ee e e ’ a n t h A B av a fine o a t e b b hu h o f . D n n a Pa i . e his rg ey C rc St e is , e r r s y C ill s m hod o n fl u e are d ha f wa u i h o n o r m o m a et , pe pipes pierce l y p w t e re s ll h fo a o n h v h f a n i i n a ir ho les . T ese per r ti s a e t e effect o c u si g the v b ra t g

c o u m n i n the to S i in ha f a n d hu to d ha f- n h o n the l pi pe pl t l t s yiel its l le g t t e,

o cta ve . The a ct ua l leng th o f the harm o n ic po rti o n (treb le) o f an O pen ha rm o n ic sto p is thu s twice the rea l spea kin g len g th i n dica ted o n the

o ab . The ha m o n ab o v ha ak n is o f o u th e st p l el ﬁrst r ic e t t spe i g , c rse . H a m o n o d i n o the f h AR MO N I C twelfth . r ic st ppe p pes o verb lo w i t twel t (see H

W Z A B E R ha o n u n a v a n d TOP P ED E LFTH U FLOTE . It s o b d S T , ) err e sly ee ce ’ that Cav aille- Co ll s i n v en tio n wa s a n ticipa ted by Ga b ler at the B en edictin e W hi h a d b a Mo n a n a n t o . The m n stery, ei g rte , ( 75 ) state e t , w c is repe te y ’ in G o Di io n a o u d m to b e ba d o n the fa ha in writer r ve s ct ry, w l see se ct t t ’ “ the a io n o f h o an a s iv n i n H am o n a h m o f the speciﬁc t t is rg , g e ilt s C tec is ” ’ ’ an a nd a o in H o k n a n d R im b au l t s a a a th e m O rg , ls p i s tre tise, ppe rs ter

' V As a m a o f - fa h sto was o n H a m o n o o n o 8 ft. r ic i l cell , tter ct t is p ly h m n i i n f th o a n W i re n dered ar o c du r n g the resto rati o o e rg by e gle . See P P ELFLOTE H ARMO N IC FLU TE HAR MON IC R E ED S i n addi io n to D O , , , t

referen ces a lready in dica ted.

— H a m n i P H a r m o n i c R e e d s See r o c ipes .

- R d h do u b n h u b in the b . u h ho v ee s wit le le gt t es tre le S c pipes, we er, h f ha m o n ﬂ u e o a re n ot u ua fo a d in the m idd u n like t o se O r ic st ps s lly per r te le,

a s this treatm en t is u n n ecessary in th e case O f reed pipes . H arm o n ic R eeds were i n tro duced b y Cav a ille- Co ll in co nj u n ctio n with i n crea sed f u n i n the b o o o o n a pressu re with the o bject o sec ri g , tre le, p wer pr p rti te to h o n o n was fu h x a n d d in the m o f tha t of the b a ss . T is c cepti rt er e p e syste

i n f Wi who m o d ha m o n i d o n o t o n reed v o ci g O George llis, e pl ye r c ree w rk ly r hi u o b u t in o d to u a o m o o hn a n d b ad h o f fo t s p rp se, r er sec re ls s t ess re t

I t is a d u o n to u o ha ha m o n i d are n a to n e . el si s pp se t t r c ree s ecess rily

r u n u o fu —h c an if d d be o d o f han n o isy o d ly p wer l t ey , esire , v ice s ter t

- AS a m a O f fa the m o rdi n a ry tru e length pipes . tter ct ere pro cess o f

m k n a d ha m o n a a f o m d a o f n d n n d to s ubdu e a i g ree r ic, p rt r et ils wi i g , te s its an d ho v a m o d a v o f in d u it a r to n e . Gr te , we er, er te reser e w press re, is e sie to secu re du e pro m i n en ce o f to n e i n th e treb le tha n is the ca se with a pipe The ha m o n u u o f h o u d n ab h m o f tru e len g th . r ic str ct re c r s ree s e les t e to D I TION A R F R « 8 C Y O O GAN STO PS . 9

an d b In u n an d n d the o n u m o in th a o m e st etter t e, re ers t e p rer, re v g e we ris Can or n a al o u n d n a ab n b h a -m a as Wi l g s s , i sep r le, eve y su c a p st ster llis , f o m n o n -ha m o n u h f h u r r ic reeds . S c a co m b i n atio n O virtues s o ld b e u fﬁ n to ab h h f a u Af the u - x n s cie t est lis t eir irre r gable sage . ter s per e celle t u ou d a n d o f a h d b the W m the u a- o n v a m res lts, l s t, c ieve y illis syste , ltr c ser tis o f ho fe wb u d who the ha m o n m m u b e d b d t se il ers reject r ic syste , st escri e as n o h n h t i g s o rt of fa rcical .

H a r m i o n c S t o p p e d T w e l f t h ft. A o d o f ft. a u a n h v n st ppe pipe 4 ct l le gt , o erblo w to speak its ﬁrst ha m o n i h f t e h ft. Th H n n r c ( twel t , e arm o ic Sto pped Twelfth was i tro

du c e d b Mr. a n m h f h o at a O . o n I a n Th o n o y C ss O g , C Tyr e, rel d. e t e t is fu a n I n o m b n i h d na sto p is ll d clear . c i atio n it s less assertive than t e o r i ry D a a o n e f h n u n h fo u h as to n du a r i p s Tw l t , its i ﬂ e ce, t ere re, is s c i ce gre te Th to e d i m f i s f r co hesio n o f to n e . e s pp pipe s e plo yed o n accou n t O t ewe m n I t i th ha m o n i n n f in h o n o f ha r o ics. s e r cs a d g e eral la ck o p urity t e t e Mixtu re pipes which ren ders them so frequ en tly u n du ly a ssertiv e in c om

i n The o d H a m o n i f h a o o m m a dm o f. b n atio . St ppe r c Twel t ls s eti es its h h f s t m bre- AU B ER effective u se wit o t er so t registers a a i cre ato r. See Z T m a h Lo n do n O a n h oo ha m b O an a h a t ELO E . O g ; rg Sc l ; C er rg , C t c r P v a n u K n n o n S W. o O H o se, e si gt , ( siti e rg W R M O N I C T I E R E T E L F H E tc . H A C , T , Mu ta tio n ra n ks are s o m etim es m a de O f dou b le leng th an d harm on ic

The ff o f h a m n to n a h i o h o u t. i n to na tio n . e ect t is tre t e t is i cre se t e r p wer wit As g iv in g rise to co n co m itan t dev elo pm en t o f their o wn u pper partials .

‘ a resu lt they a lso sta n d b etter in tu n e a n d are less a ffected b ﬂu ctua tio n y — n h u - n h v i Th a is n o t u n o f wi n d press ure th a t e tr e le g t ar eties . e pr ctice W H AR MON IC TOP P ED EL FTH . Ma n h ad. o o o kn o wn a b ro See S T y t C llege, tahlhu th Em m a n u hu h N o in ham H u kn a o a d Irela n d (S ) el C rc , tt g , c ll T rk r ,

N o tti n gham (Mu ss on Co m pto n ) .

m H a r m o n i c T r u m p e t Tro pette H a rm on iqu e .

8 ft.

- ha m n i in th . u m o e b . Th n a m A clear to n ed Tr pet, r c tre le e e is also

som etim es em ployed to desig n ate a Tu b a o f so m ewha t lighter t on e than . “ h a i U BA . the cu sto m ary fu ll a n d t ick v r ety. See T — H A R M O N IE A pre ﬁx i n dicati n g ( 1) tha t the sto p is vo iced for c o m ’ '

Fr. o r d H a m o n i . r 2 ha h b ina ti on a l u se . ( ) C r e O ( ) t t t e st o p is of

r. H arm o n i ﬂ t . ha rm o n ic stru ct u re . (Ge ) e o e

— A H arm o n ik m n . 8 ft. 16 ft. H A R M O N IK A Ha r o ica lso ab ass .

n F u O f of a n d d i a n o n a o n o f n h n in An O pe l te s t el c te i t ti , te slig tly stri gy

It n a m ad Of o od an d b a d d. As a m an u a o is to n e . is g e er lly e w e r e l st p it r n the P da o an H rm n ik qu ite u n kn o wn in this co u n t v . O e l rg the a o ab ass 9 0 D ICTION ARY O F O RGAN STOP S c o o n d to a m a - a d Ma o B a r o V m u rresp s s ll sc le j r ss o wo d io lo n . Ul M n ster ; G a n dhau L z Walc k r ew s, eip ig ( e ) .

Ha rm o n u — f d v fo u n u n h m A o , a l d d n am i ree ree st p ery r re y er t is e, is id n a h la v li n r h ik e tic l wit C ae o e o P ysharm on a .

Ha rp - A stri nged i n stru m en t i n tro du ced by Sc hwa rb ro ok as an o rgan stop n h u n i o t e n m at . M ha n 1 i t i str e t St c el, Co ve try ( 73

‘ Ha r E o n — a z Eol n l e H o e . E OLrN E a o KEROPHONE . p i rp See , ls H — a u H au BOE. t b o y tb ois . See O

— ’ H e de ia !8 wv i ho n e G 0m a u ( r v o e . p ( m 1 l ple s re, p , c ' A - o n n d b Mr. Ho o n e s an d o n in o f m a st p i ve te y pe J , c sist g et llic plates n o v b a on b an a n n u n air Th set i t i r ti y lter ati g c rre t o f . e to n e resem bled

tha o f o n . No xa m x b u t a m n w t g gs e ple e ists, speci e as exhibited a t a - n lectu re delivered by Mr. H o pe Jo es at Birken head.

r ru m m I H x m a om m d u He e t e eer (preﬁ ) ilit ry ; Tr el r m .

Barfu sskirc he E fu Sc hlosso r e l D d n . Go a d H d h m , r rt ; g , res e ; St tth r , il es ei . The o rg an at So n dershausen co n tain ed Rechte-H e e rtro m m e l right ih and dru m ) . — fi e r. H a . n h He llpfe ife He llﬂb te . (G ) ell cle r Sig i es eit er Ca m pan a

o r Sharp Mi xt ure .

IH l r— A o the fu n on o f wh h was to a h or e p e st p, cti ic ssist the speec ,

i v h o n of o m o h o or o . A H w m pro e t e t e, s e t er st p st ps elper as a h i hu in tro du ced b y Bridg e t C r st C rch , The n D a a o n b n o d was a om a n b ass o f the seco d i p s , ei g st ppe , cc p ied in

. Th Ba F u 8 f was fo i ts speech by Prin cipal pipes e ss l te t. rm erly

h e H to the B o u do n 1 6 ft. a n d a H o hlﬂ reg a rded as t elper r , bte or H to the m a n am Co u pling Flu te fo rm ed a elper Ger G b a. A cu rio u s device fo r fa cilitating pro m ptitude o f speech was o cca sio n ally A a d to the ou d o f a V o on i m an . u a do pted i n Ger y tt che tsi e i l e p pe, j st

w s a ho o d bod n o m o u . u h n a b ove the m outh , a s rt st ppe pipe y ( th) S c wi d d o f the li d to h o w air o u m n i as blew o n the ou tsi e pipe p, serve t r the c l n n the n o h b in du d m a ia a d n the h this in to v ib ratio , te t ere y ce ter lly i i g speec Va io u fo m o f f- on a n d H av b n o f the m ain pipe . r s r s sel c t i e elpers h e ee

- H o o n . I n o n e n an b o o f a oo d n devised b y Mr. pe J es i st ce the l ck w e pipe ho to the u n d d of was a a d a o f was pierced with a le, ersi e which tt che s rt o

- As n n hang in g trap doo r o r o v a l pallet. the wi d e tered the pipe this ‘ pen da n t do o r was i n ten ded to clo se with som e fo rce a n d so set the co lu m n

v b a o n hu i n the n d at he li o f a ir i n the pipe i n to i r ti , t s rel evi g wi t p of a

f n a o . The id a h h in n ou b ut h h larg e share o its i iti l w rk e is ig ly ge i s, w et er b e a fa o in o a on m o an do u b fu su ch a dev ice wo uld s tis ct ry per ti is re th t l .

B H O B O E See O OE.

2 D I T N A Y " F R 9 C I O R O O GAN STO PS . are m r an so etim es to b e hea rd ; frequ en tly they stan d in the Swell o g . h h L o a oo d an u a P o o at . ho m a No in a m d . T ere is g tri g l r icc l St T s , tt g ( l y ) A — w i h o o d a fo r a an u a H o hlfl Ote m id. t o d . g sc le tri g l r is C, si es 4 ; f o n id a in m o u h 1 ih . m ou h c u t u in . n o r t s e (c rry g t ) }7 ; t p, 5 Te r C , in x a n W h th m o u h o n the d o f a an u a i . e d 3% . s it t wi e si e rect g l r pipe, — a o o d a is : T C . z i n . x 2 in . m o u h c u t u in . h g sc le . , é % ; t p, T ere a n u n o m m o n o o H hlfl te a t n n n W an hu h is c ly g d o b Te yso St . esley C rc , N ha m m a a n r u h o n d d o d b M . u n the o a n o f h . tti g , e v ice y C lle , rg ist the c rc ’ Mr . B in n hlfl u t ar s H o e s e also distin g u ished by their excellen ce . See a o LAR ABELLA I FFLOTE WAL L T ls C , S , D F O E . l — e r. H h o h . Ho h s c he IIe R ohrsch elle . (G ) o hl llo w ; Sc elle b ell f E h - hrfl 2 v o f 8 t. it er ( I ) a large scaled Ro dte ; o r ( ) a ariety u n ar n m a Q i t o de o f R o hrflOte pipes . — ' - Ho l Fl ute rSe e H OH LFLOTE .

- — Ho l e Fl ute See H OHLFLOTE . H —r L n o l z a é ft An o n a n o od da o . u e t b s s . rdi ry o pe w pe l st p cer

a h a . L Z L TE C t edr l See H O T F O .

H 8 ft. Ho ltz ﬂote o ltz wo o d. “ d n n m a k I t is a h an n d n n a m h h Sei el perti e tly re r s, r t er i eﬁ ite e, w ic m ight b e a pplied to sev era l kin ds o f Flu tes It is a register withou t n in a o m b n a o n a a n y particular adva n tage o r strikin g quality. A o rd ry c i ti l F woo d lu te . — h i a Ho riz o n ta l T u b a A Tu b a with pipes or z on ta lly pl ced. See

FAN T U BA. — H o r n 8 ft.

I n u b e n atu s H a u n n i f u h a o n v x d at tro d ced y R rris (f , s c pers e er e iste )

D o n Ba k hu h a s F n h H o n . La b B id a t St . i is, c c rc re c r ter y r g e

h i h u h S italﬁe lds 1 0 a n d . An n L m ho u Th e C r st C rc , p ( 73 ) St e, i e se i h l F n h H u n in H n W H o rn was i m tati v e o f t e o d re c t g o r (see ALDHO R N ) . Wh fo m n o do u b o n e o f th e m o u fu xa m o f o h ilst r erly, t st s ccess l e ples rc es a m a io n o f the a b u d ha s o h u h o fa n n o tr l i it t e rly il ers, it , like , t er s c st ps, lle i t I iff wha t m ay b e reg arded a s u n im ita ti v e o rga n to n e . t d ers o n ly fro m th e n o an in a h n a d a an d f do m o f o n ho u h n o w Co r pe slig tly i cre se sc le ree t e, t g it is o ften n a m ed syn o n ym o u sly therewith . — 8 ft. u a in th n H o r n D i a p a s o n U s lly e Swell o rg a .

The H o rn Diapa so n is a slo tted D iapa so n o f ho rn y an d so m etim es .

“ ' so m ewhat su ga ry a n d clo yi n g to n e . It po ssesses ra ther m o re b OdV P n a o r V o n Dia a o n h ou h is o f tha n the Geigen ri cip l i li p s , t g it ten n a m ed The u a i o f o n a syn o n ym o u sly with this sto p . q l ty t e r pidly b eco m es

r Th e H o n D a a o n a a to b e m o r . wea riso m e to the e a . r i p s ppe rs re o less a n ou tco m e o f a re c og n itio n o f the fa ct tha t a Dia paso n o f th e o rdin ary type H N n u fu in a x If ( b ut see D IAP AS ON P O ON ) is ot s ccess l swell b o . th e type h e n P n a d d d f a b l f u d t G . o to n e b e req ire , eig e ri cip l is eci e ly pre er e D ICTION AR OF R AN ST P Y O G O S. 93

H O R N G AM B A— See FU GARA. — Horn L f: e n ei a Ge r. dim nu v l i is ( ) i ti e su ﬂi x. The H o n n h r a m a 8 f d Lu n 2 an r lei is eit er ( ) s ll t. ree cer e) ( ) o a H o n A S itz ﬂOte o r ct ve r 3) p (4) a Na chtho rn .

Hu m a n a — Vo x H MA See U NA.

Hu m n H u m a n a ft. g e da c kt u s hu m a n . 4 A - o n d G da u o d u m a b to n a a sweet t e e ckt, s pp se , pres ly, represe t cle r

b v . . o u d H a m b u . tre le ice St Gertr , rg

H m m —Hii m m e loh n r H m m h u m m n ri m: is a u e l e . (Ge . ) u el i g ;

f x n n k n n n d m n u v u o o d n to E i n m a . i i ti e s ﬁ , c rresp i g ( g ) iki ) A device fo r cau si n g two o f the la rgest pipes in the o rg an to speak m u an u n h h n n f m m i a u n u h o o si lt eo sly, o rigi a lly wit t e i te t o su ar ly ro si g s c p r n m ortals as su ccu m b ed to the frailties o f th e ﬂesh an d sn o red in the serm o . W m n n b u hi in o u r o wn m n o ere s o e e terprisi g ilder to revive t s st0p ti e , ’ E FFETS D R AGE m h i . a do u b t his serv ices wo uld b e u c n requ est See ls o O , " La a d o n ba h an d F or an d G D R U M P EDAL . ter r e ss, eit er C , C

( Ma tthews) .

- SU B BAS S . In fra B a s s I n fra b elo w . See i h I n v e r t e d L a n g u i d , P i p e s w t .

A a n o f the an u d o f hi h p tter pipe, l g i w c is set

in o n u d do n . The ham rev erse po siti , psi e w c r i f the an u d h u u n d n a h n o t fe e d s de o l g i is t s er e t , H Vo o f D u a h o n n fo m d a b o ve . err it rl c ce i r e h h ha i so on u d had t e au t o r, t t p pes c str cte n i z in m an h n o ccasio n ally b ee u t li ed Ger y, w e it had been desired to im itate the to n e o f the o ld n h o u n th e d a ha s b n b u ilders . I t is c try i e ee r H b co n ceived in depen den tly b y M . er ert N o m an B a d i n his o n o F u No rm an ( r e r ) , C r l te D a a on h n d an u id o f (ye ) . i p s s wit i verte l g , very n hav a o b n m ad b h fu ll a n d ﬁrm to e, e ls ee e y t is h n o n o f the an u d m to ﬁrm . T e i versi l g i see s hav e the effect o f castin g the win d m o re in side Ge dac kts are o m m hou h o f the pipe . s eti es, t g

a o d d i h h n lan u ids b ut v ery r rely, pr vi e w t t i g 0 The ff o f h a m n slightly cham fered. e ect t is tre t e t 32533 : 55, m ha m a to ha of the I n d sho win g is so ew t si il r t t verte Ordinary h a G da so m ad at Lan g u id. T ere is e ckt e Lang uid' N OttS Mu o n om on . H u ckn all To rkard, ( ss C pt ) D I TI N AR F R AN T P 94 C O Y O O G S O S .

I n v . e r t e d M o u t h , P i p e s W i t h

The m o u th o f a ﬂ u e pipe is sa id to b e i n v erted when the cha m feri n g o r b v n o f the u i n ad o f b n x u d o n the o u d o f th e elli g pper lip , ste ei g e ec te tsi e e i a in a i h t f m in s o d o n t e n d he o u a a n v . Th p pe r r ly, is i si e, ter ce re i g le el e V n n a F u fu n h a o od i n an o f the u se o f the n d the ie l te r is es g st ce i verte lip, m o u h hav n the a a an o f a m u a o a a o d t i g ppe r ce si ple circ l r riﬁce, p rti lly c vere , ha n b the c a . I v d m o u h are f u n a t F per ps , y p erte t s req e tly pplied o lu te

o . G n a a i n the o n o f so a d a a m o of st ps e er lly spe k g , t e pipes tre te p rt kes re the o rchestral im ita tiv e qu ality tha n that o f pipes with the o rdi nary “ ” n f m u h The di n iv a a r ff a m n n t patter o o t . sti ct e tt ck o pi cco pa yi g he h o f i h th e i n v d m o u h n ho u h d u d as fu speec p pes wit erte t , eve t g isg ise skil lly

a s o ib o o n b o m a o m . O n hi a o u n n d m o u h p ss le, s ec es we ris e t s cc t, i verte t s are b h d so far a s u n o n F u o n an in u se u h a s etter esc ewe is l tes c st tly , s c G a o an a ab a H o hlﬂ u te s a n d Waldﬂ u te s are o n n d re t rg Cl r ell s, , , c cer e (see W L FL E The a m o b o n do n o t a s fu t av A D OT ) . s e jecti es pply o fo rce lly o o ct e FLAU T RAVER F u o . For i u a o n O SO. l te st ps ll str ti s, see T

o J E U St p. ’

x An c h R u x de Fo n d Fo u n da o n o . j eu d e s eeds . Je ti st ps

“ F — b a th fa h f all u h a h a n th A TE u a . u o s J U B L L O J b l J l , e t er s c dle e — i iv . 2 1 . 8 ft. ft. f ha a n a n . n rp d o rg Ge es s 4 2 t. f A D e lfl te f o m o u u a o o en . . P u o pp d o s e p wer ; s lly p pipes St a l, F a n fu Wal c ke r D u n the n b u i d o f hi o a n i n r k rt ( , ri g rece t re l t s rg , “ ” 1 8 a m ak o u d i n the u b n o f th e b a a n d the u b alflote 99, ist e cc rre t i g Ti i J , the res u lt b ei n g tha t the j u b alflo te is n o wco n tro lled b y the sto p la b elled T ib ia . — A o a o n f l t . An 8 ft. o r u in G m h o n . u o o u b a fl o e du l a , Q t, e s r ls c rr pti J

- — du n g fe rn Re g a I See R EGAL.

- — Kalb e r Re g a I See R EGAL.

— h K a io was th e Mu of Ka lli o pe I n cla ssical m yt o lo gy ll pe se epic po etry. a n o a n o the n a m is a i u a u n fo u n a Applied to rg st p , e p rt c l rly rt te, serv in g as th e wo rd do es in Am erica to desig n a te ste a m o rg a n s m o d at fa an d the am h u d o n b o a d s o m etim es e pl ye irs, ste w istles se r

f . 8 ft. t ship . 4

- n was h h was nv n d b Mr. H o o o m o d Th e K a lli o pe, w ic i e te y pe J es , c p se The n wa s o f sto pped pipes o f exceedi n gly la rg e scale . to e ho llo w a n d

6 D IC TIO N AR F R 9 Y O O GAN STOP S .

é a h o n i n / f v o Ke ro p ho n e x p g r ; W ; ice . I n the o a n at the o o n H a B i o N o m an B a d rg C lst ll, r st l ( r e r , u h n am d K ro ho n e H a ZEolo n e an d axo h o n re o cc r t ree sto ps e e p , rp S p e,

m f f . h h s c i l . h are o o d o f f d o 8 t pe t v e y T ese sto ps c p se ree ree s, pitc , wit h ar u n d the o n o o f a n v ery bro ad to n g u es a n d n o pipes . T ey e er c tr l ’ x o n d Ga a n h b v had o f o c a n b e e pressi evice ( le s p te t) , w ere y e ery s e p wer

n a n a n d i h fo r a n n a n n o o r a ho ho d. i st tly ob t i e , e t er cce ti g si gle te w le c r

h n a - n u f hi an T ese sto ps add co sider b ly to the wo o d wi d reso rces o t s o rg . A pa ten t tu n i n g dev ice en ab les them to b e ra pidly tu n ed

' “ K I R I Aki n to the H b Kin n r H a N U A m m pa . e rew ﬁ ( rp) m h K n u a was a h h n n on d in n iv 2 1 . T e a te e ti e Ge esis . i r rp wit

in 8 ft. str g s .

- n n H o o n . Th i n a x i n i I v e ted by Mr. pe J es e o r g i l e per m e ts n th e c o n stru ctio n o f this sto p were co n du cted with cyli n drical b ra ss tu b es c o n ti n u ed h o u h th k a n f m in th ha r h m a o f t r g e blo c d o r g e s llo t o reed. T ey were de “ ” b a u b n h a o n ﬂat d h o u h a n a f r ss t i g , wit l g ﬁle t r g co sider b le pa rt o o n e

d . On to h was o d d a b a a a a n a i in whi h th si e t is s l ere r ss pl te, g i st sl t c e

n u wa I n o h a h ha o x n u - to g e s sea ted. t er c ses t is s ll t e te ded ab o t o n e third h b o a t m the d a n u n o the d u b . T e dd wa s a u i n ist ce p i t ree t e re i le C b o t i . diam b u t the o n u so hin ha it was a a i m eter , t g es were t t t pr ctic lly p o ssible wa s m to o m the o m a . E v n u a the o ad th b c plete c p ss e t lly st p e like e O o e, o r o f m a - a d ha f- n h u b d at th e to an d u m s ll sc le l le g t t es , pierce p s r o u n ted n - h li Th n b y a adj ustab le ho o d s a ped d. e to e o f the K in ura is n o t has a o u b n d b d as m n i m pressiv e . It v ri sly ee escri e rese bli g a b adly v o iced “ ” Ob o a b e e in a b o o r v n a o n n a ! Mc Ewa n H e, ttle, e e c certi all, Edi n b u h Ab d n U n iv i H a o n P a h hu h B adfo d H o a rg ; er ee ers ty e t ris C rc , r r yl ke hu h B k n h a d Kin n ou ll P a i h hu h P h H o —o n C rc , ir e e r s C rc , ert ( pe J es) .

K L AR I N E TTE Cla ri n et .

K E I N m a . A x n d a n o av h h L S ll preﬁ i ic ti g ct e pitc . T u s ,

K n z O av . om im h o th x lei Ter ct e Tierce S et es, wever, e preﬁ ” n - sig iﬁes sm all sca led. — Kl e i n -Ge da c kt is u sed i n b o th these sen ses in the la tter sen se as

k- a a n d M - k o ppo sed to St ar Ged ckt ittel Geda c t .

- — Kle i n Re g a l See R E GAL .

i a in Ge r. b . A b o m m u n as a n a i h th b K n e e o . li g l ( ) ell ell c c t g , sig l , w t l wer

- — Kn o pf Re g a I See R EGAL .

T O N TR A K O N R A See C .

‘ — n a a Ko ntra b a s s See Co tr b ss.

- — Ko pf Re g a I See R EGAL . — Ko ppe l See COP P EL . D ICTIONAR Y OF ORGAN STO PS . 97

K R U M M H O R N— LAR IN ET See C .

' Ku rz e ﬂ te - e r A n t the Zw r f if a f- o ( G ) Ku rz short . ki o e gp e e (dw r pipe) o r P icco lo .

Ku z ia lﬂ — u z i l o K t a ﬂ t ft 2 ft 1 ft. an d Mu a o n te O e . 4 . . ; ; t ti .

An o n f m a a . pe wo o d Flu te o f b right to n e . The pipes were o s ll sc le

. D o m n o P a u . K u z h D d n r ft. St i ic , r g e re kirc e, res e , i

L .

La r io r—An an n n a m f r h g cie t e o t e Schwiegel .

A R I T — a - L G O O v f h u o av u n N n n h 1 ft. ct e Twel t , S per ct e Q i t, i etee t , § A Mixt u re ra n k speaki n g a t the in terv a l o f a N in eteen th a b ov e th e

u n i o n . Fo m m o M x u a n s a a o . s r erly, like st i t re r ks, it drew a a sep r te st p Th e La w n f o as o f o v h o n the hav n d m o u h . rig t te ery s rill t e, pipes i g wi e t s L e a t h e r e d L i p , P i p e s w i t h .

“ ” " The pro cess o f lea therin g i s a pro cess o f trea ting ﬂu e pipes e x te n s iv e l m o in m d m The m odus o e ra ndi y e pl yed o e o rgan b u ildi n g . p is im I t m n i h s ple . erely e tails the ﬁ x n g o f a strip o f lea ther to t e u pper “ ” o f a m a o r o o d i m a n f n r i u lip et l w p pe by e s o Secco ti e o liqu d g l e, th e a h b n do u b d o u n d an d i n to o n e d o f the le t er ei g le r , r si g si e lip

ab o u 1 i n . o r 2 i n . in th a f fa i iz The o t }7 e c se o r s ed pipes . pr cess a ffo d a m m a n o f o u n a o id h k an d m o o h li r s si ple e s pr c ri g s l , t ic , s t p, a n d it m u st n o t b e su ppo sed tha t the lea ther pe r se is respo n sible for h the im pro v ed resu lts o b ta i n ed. Su c trea tm e n t i m parts an u n riva lled fu n a n d v adin u a i to the o n i h o u n a n d n it ll ess per g q l ty t e, w t t ecess rily re eri g The m ho x o n a a u a as f ﬂ u te y o r du ll . et d is e cepti lly v l b le a m ean s o n a n th e f n o f o ld i ho u h n d to a dd it u i cre si g e ﬁcie cy p pes , t g , ee less , req ires

n id a b a a n d d m n a io n i n a a o n . D ia a o n F u co s er le c re iscri i t pplic ti p s s , l tes , a n d a certai n type o f Q u i n ta tOn c an b e v o iced to a dv a n tage with leathered The au ho ha s h a d v n o ld G n P n a ha b i i a d b lips . t r e r e e eig e ri cip ls re l t te y h n has b n d d to n a h b o d o f i a m n o n . th s tre t e t, w e it ee esire i cre se t eir y t e

See a lso D IAPASON (sectio n 6) a n d TI BIA .

Vi n Li e b e s g e ig e Lieb e lo ve ; Geig e oli . See VIOLE ’ D AMO U R .

L i e b l i c h lov ely. n n f n A preﬁx betoken in g s o ft n ess a d sweet ess o to e . — L b h B o u do n sic . 1 L i e b l i c h B o r d u n ie lic r ( ) 6 ft.

- - a d o f on d B o u do n u u a in the o an . I A sm all sc le , s t t e r s lly Swell rg t is n n the P da o a n m a b b o o d f o m som etim es fo u d o e l rg , y e rr we r the Swell .

L b h F . L i e b l i c h F l u t e ie lic lo te 4 ft.

An o cta ve Lieblich Geda ckt . 8 9 DIcTIONARv o r OR GAN STOPS . — L i e l i L b h a k . GEDE KT b c h G e d e c k t ie lic Ged c t See C , -‘ f ROHR I LOTE ON E EDACKT 8 ft. a 1 6 ft. ft. a 2 t , C G lso ; 4 ; r rely .

F r 1 ft an ft. a LIE BLIC H o 6 . d 4 v rieties see

BORDU N an d LIE BLIC H FL TE v . O , respecti ely

A 2 ft. n an o t to n o i st ce, st pped o the p te

’ o ccurs o n the Cho ir o rg an at Ripon Ca th e d a Le i b u i H r l ( w s, re lt by ill) .

Th e L b h G d o f u an d ie lic e eckt is q ieter, b righter less thick ton e than the Gedeckt o r so-called Sto pped D a a I t was n i p so n . i tro du ced i n to this cou n try i n ' hu z 18 1 Exh b o n o an an h au fu Sc l e s 5 i iti rg , d t e be ti l, m ello w quality Of its to n e caused a great sen sa tio n at the m Th was u ti e . e stop q ickly raised to perfectio n b y Willis an d Lewi s At the presen t day it is u sed b all En h b u d bu t in m an th y glis il ers, too y ca ses e n i f n has d a an is pristi e pu r ty o its to e is ppeared, d a d agreeab le com m ercia l stan da rd of Lieb lich ha s he n u n n xi n . T a m in E n la n d spr g i to e ste ce e is, g , m im a to o o f wood ho u h is n o w so et es pplied st ps , t g it u u a m a o f m a i h d ood n o s lly de et l, w t pierce w e st ppers n u W In m an lin ed with co rk (as i tro d ced by illis) . Ger y sto pped m etal pipes are still provided with th e “ ” i in a n o u a d u n d R oh rﬂO e sl d g c ister t ps ill str te er t . Meta l Gedeckts are g en era lly co n tin u ed by wo o d H o - o n n b a . I n the o a ho v the sses pe J es rg s, we er, Lieb lich Gedeckt ba sses are alm o st i n v aria b ly o f a The u b o n d are o o d a fo r a h i m et l . s j i e g sc les C o r

O an L b h G d k : i n . c u t u 1 i n rg ie lic e ec t C C, 3}7 , p 5 . i M I in . c u tu n . a ba Mid. o C, % , p % et l ss , st ppers pierced

- in the b : H o o n . in . x i n c u tre le ( pe J es) C C, 4 3 , t

in W an d o h . in x 2 u I . . in . p é ( illis, t ers) C C, 3 % ,

in . L . 2 in x z in c u c u t u 1 . t u p 5 ( ewis) C C, 3 , p Mo En h u 1 in B ho . b d u se ba Lie blich }3 . ( is p) st glis il ers sses d 1 a u n at in . x in . o r i n x 2 m 4 , . in . ( m fglfﬁm e s ri g C C 3 33, % , for all u o h h the b b e a G d p rp ses, w et er tre le e eckt, 5333; b i h G d r R r . D a a on L o o h ﬂ te I t Sto p i p s , ie l c e eckt o . is o u b u t o n e n a vici s practice, very g e erally ado pted.

H G E S H A L L ha n t h I E LI C o o . f L B C T Sc lle ec 8 t. In

- H o n . ven ted b y Mr. pe Jo es

A m a a d E ho L b i h G d . i n m id very s ll sc le c ie l c e eckt C C, . ; . C, H - ih . P a a o o h h o o n . Kin n ou l rkg te Sch l, C es ire ( pe J es) Church,

P N . B . erth,

100 D ICTION AR Y O F OR GAN ST OP S . f u I t m a O f n b e m d d b req en tly du e to a cou stica l i n ﬂ u en ces . y te re e ie y au n n f c si g the pipes to speak ag ain st a reﬂecti g su r a ce . — ft. 1 6 ft M a j o r F l u t e 8 .

f n n th a o o A w fu m b in a io n a ft. F u u u a o u d o e G p o er l co t l 8 l te, s lly re t, S l , o r P an Th n a m o m m a i d to the b a P n a a n d eda l o rg s . e e is s eti es ppl e Ti i le , n F u o cca si o n ally to a n o pe l te Do u ble . — o f o n . Me g a lo pe n te r g t. t e

’ ’ ’ — ﬁv e 2 ft o n . r. e a a we re Me g a lo pho n e 3 . t e (G ) p y g gre t ; v ; q ; i Vo ce . Two sto ps b earin g these n am es o ccu r o n the Peda l o rg a n at the

A W x fa n na m fo r a u m o o n . S . . o 81 h are Co lise , B st , U ( ilc T ey cy es A o u i B ff i u in a n d 2 ft. a . Q t 3 c st c ss e ect, respect vely — M E O D I A S ft. a o 1 6 f ft. L ls t. ; 4

A o m o d in Am a o n d n h to o u r Waldflo te o r st p e pl ye eric , co rresp i g eit er lfl W l fl t as m a H oh Ote . I n o n it f u n m b th e a d O e d so t e req e tly rese les , e x n b M W a . e celle tly y essrs . lker

M o F u M a a n M i V M l o d i d od D o od o . e c el ic l te, el ic i p s , el c i l

“ A preﬁx sig n ifyin g tha t the sto p so describ ed spea ks o n a Melo dy

A a hm n . The a is a d v the O a o n O f hi h n all tt c e t l tter e ice, per ti w c sile ces the n o tes o f the ch o rd played o n the pa rticu la r m an u a l o r sto p to which it h o n I n in i is a a h d h the x io n o f t e b e . v o n it m a tt c e , wit e cept tre le its ers y b e m o d to n all x the b a n o O f a o or o an d e pl ye sile ce e cept ss te st p st ps , a l m th u s ren der po ssible ped b ass effects fro a m a n u a l . The m elo dy a a hm n a s a d to the ha m o n u m was n v n d b Da n tt c e t, pplie r i , i e te y wes, a d

a n d b him u n d the n a m o f o a n o o u in 1 Th p te te y er e S pr C pler 8 64 . e v ff th e do u b b a o u was a n b re erse e ect, le ss c pler, p te ted y D awes Ra m sden

in 1 8 68 . m a o n v an a d to th e ha m o n u m b H o a d Si il r c tri ces were pplie r i y w r , Th M o d u w a n d Ma s on H a m lin . e el ic C o pler as ﬁrst a da pted to the “ ” Mr h m a n h o P i i o a n b . o a o o v o a n o f th rg y T s C ss , w se s t e rg s ( e larg er pattern ) n o rm ally po ssess a do u ble b ass sto p a cting fro m the lo west n o te k a n a a m o d o in fo n th e u d o b n o . str c , ls el ic st p re rci g tre le te D ev ices o f h kin d h h ha n b n a m o d b o h b u i t is , w ic ve si ce ee l rg ely e pl ye y t er lders, are n o t m a u ab i n m a o a n b u t a o v to a u m erely v l le s ll rg s , ls ser e g en t th e

o u Of n u m n o f a z . A a h d to the o o o an a res rces i str e ts gre ter si e tt c e S l rg , m o o u a m i o f m a n n o v ff a i u a i el dic c pler d ts y el e ects , p rt c l rly n m u sic o f the “ ” -m o f v i u a n do n the fo m i h a h d ha n leit ti type, rt lly e wi g per r er w t t ir d.

hu a u b a m a b e o u d m o d a to a n o h m a n u a b o h h T s T y c ple el ic lly t er l , t an ds n i b ei n g em plo yed o n the la tter in a cco m pa m en t . It wo u ld b e si m ila rly ’ “ ” u fu in u h a a s Gu ilm an t s H m n o f the a h i se l s c piece y Ser p s , n which f n th e P a th e m elo dy is take n b y th e rig ht o o t o ed l o rg a n . Atta ched to larg e i n stru m en ts it m ay b e seen a t : Lo n don Organ Schoo l 5 Cathca r t DI TI N AR R AN T P 10 ! C O Y OF O G S O S .

H o u o u h K n in o n W P o v O a n P au Aix-la se, S t e s g t , . ( siti e rg St . l, ha Aa h n Stahl hu th . Mr. R . . u o f Le o n has a o C pelle ( c e ) , ( ) S R tt, yt , ls a n d an i n n o u a - n in o u n db o a d b m an o f h h p te te ge i s p rt si g g s r , y e s w ic it is po ssible to isola te o r co m b in e to g ether a n y o f the in di v idu a l pa rts o f fo u r

‘ a h a A p rt rm o n y o n th e g iven sto p o r m a n u al to which it is applied.

o m ha m a o n an ha a b n d n d b Mr. a o n s ew t si il r c triv ce s lso ee esig e y C ss . T he D o u b o u h an o h d adm n o f the a n ua o n o f le T c is t er evice, itti g cce t ti o a d n is l te o tes .

' éAo n 8 ft. Me lo pho n e y g s o g ; p( wm; vo ice . - n f B d in o n P o ( 1 ) A string t o ed sto p O v ery delica te i n to n a tio n . ri l g t ri ry hu h n sse n s f B iu m i i f th K m ba a n A n e e o . 2 A a O e O C rc ( , elg ) ( ) spec l ty i ll rg

C o . o n i n o f a m a n d a ﬂ u e Of V o n D ia a o n a , c s sti g et l cyli ric l pipe, i li p s sc le,

ak n two u a o f u n i o n h at o n e an d the a m im v iz . spe i g q lities s pitc s e t e , , “ W ” — n n I n o h o d a n o n d F u . Stri g a n d Ope o o d. t er w r s stri g t e l te W V U MAN A 1 f . i . m H a h n o n m . S A . K b a a o o x 6 t s g t Te ple, U ( i ll See ls ,

H om o m m Me n s c h e n s ti m m e Men sch m an (Lat. ) ; Sti e V x AN o H U M A. v o ice . See

a kb AVIC IN I M. Me ru l a b l c ird. See U

- — R AL Me s s i n g Re g a I See EG .

M E A L L I S T O P P E D —A o M a F u 8 f f . t. t T C , ls et llic l te also 4 . Th e o rg an b u ilt b y S chu lz e for the 1 8 51 Exhib itio n was rem a rka ble for i I t is the exqu is te qu a lity o f its Gedeckt sto ps . traditio n a lly repo rted th a t th f hi n u m n n n b xa m n B i h e o o t o to u a o n . o pipes t s i str e t were pe p lic e i ti s p, the b a d o a n b u d was so m d w h h cele r te rg il er, i presse it t e to n e o f these G d k h a he n d av o u d af a fu i n n to i m a B e ec ts t t e e re , ter c re l l ste i g , it te it . y din o f m u h x m n in he u d d to his a i fa i n in n t c e peri e t g s ccee e s t s ct o do i g so . H e m o d o o d n i o f th e o din a an u a h o u d e pl ye w e p pes r ry rect g l r s ape tsi e, bu t, W a b o v m idd in n a O f in d a fo m . h n o m m a e le C, ter lly cyl ric l r e , s eti e l ter, ’ Bi ho h ad hu z o a n h o u h h i ha n d was f u n M . essrs s p Sc l e s rg t r g t e r s, it o d th a t the Sto pped Metallic wa s rea lly a v ery fa ithfu l represen ta tio n Of the ’ o i n a G d k o n . ho a f B ho a m hu z n la r g i l e ec t t e S rtly ter is p s tte pt, Sc l e e rged h o an a t the m hu h Lo n do n a n d in the m o b a m an n t e rg Te ple C rc , , st li er l er i I wa b e perm itted o ther b u lders to exa m i n e his pipes . t s then discov ered i h d k n a u v a n to h h h tha t his L eb lic Ge ec t, the e rest eq i le t w ic ad hitherto

i n E n a n d b n m ad Of oo d was o f m a . As was h n fo u n g l ee e w , et l it t e d m o m a i the u se o f the o d M a w i e asier to e pl y et l p pes, St ppe et llic a s d s h M a F u was a o n a o f o n n u . T e v co n ti ed et llic l te st p, g e er lly pe pipes, o iced ’ h m an F u ho u h m a i n i i in . B o G d a o n s m lar l es is p s er l te, t g e variety o f Ma N o n ha m O f a wa s o m m . n d a b o w ys , s eti es St ry, tti g ) cyli ric l re m n F u w n id the m a F u . The G a as n ot a a u i s e, like et llic l te er l te lw ys tr ly w im m f wo n d a i n fo m . I t as o m ad o t O f oo cyli ric l r s et es e pieces w d, 1 0 2 D ICTION AR OF ORGAN TO P Y S S .

o ov d o u was n v d an d the c a . t an d h n o n d u . The m o u h gr e , t e j i te p t i erte , p x d w A T R V R h a h m m an o FL U O A E S O . T e u o b ﬁ e sl t ise . See als T t r well re e ers a o St pped Metallic O f b eau tifu lly m ello w ton e at B righto n C o llege ( Bisho p) . O h xam n at B o m o n a o B o m b a a h a t er e ples were i serted r pt Or t ry, y C t edr l,

. B h etc ( is o p) .

Mi —2 n n ri i ft M b u a h d a . A o a u n e c § . erse rg C t e r l ct ve Q i t.

Mi l M m id 8 ft tte g e da c kt ittel dle . . A o f m u m Gedeckt edi po wer .

Misc r t m x M i x t u r e e e o i .

Mi xtu re stops are so m etim es kn o wn by the gen eric n am e O f Co m po u n d o b au h are com o u n de d o f tw r m a n f i o f St ps, ec se t ey p o o o re r ks o p pes, h l a f h i f h th di a a h . In t e a o t e o u o n o t e o an as e sp r te pitc e r ier st g es ev l t rg , n u m n n a d i n m a n u d an d m o a n b am u o m a i str e t i cre se g it e i p rt ce, it ec e c st ry to u n h the Dia a o n u n d th e o n o o f a h n div du a ke ite wit p s s, er c tr l e c i i l y, v a u b dia o u n din o av a n d fth a n d a h d to se er l s si ry pipes s g ct es ﬁ s, l ter t ir s, wa s f n u h h h ff n f h h m . It o do b a t e a b a u o m t e t e elt, t, t t r t er re e ect res lti g r m u i a o n o f o av o u d in o m m a u b e a a o r ere d pl c ti ct es c l , s e e s re, p lli ted m o di d the o n nd d o f a m o ho m o n o u ha a b th e ﬁe , t e re ere re g e e s c r cter, y

f - h ab o u n n in tro du ctio n o f fi th sou n din g pipes . T ere is s l tely o reaso to suppo se tha t o ur fo refa thers were ig n o ra n t o f th e existen ce Of the h ar m o n ic m a hou h H m ho z was the to v o v th e n h o o f syste , lt g el lt first e l e scie tific t e ry th n u n f v o n o n o n u a H n th e n o du io n o f e i fl e ce o o ert es t e q lity. e ce i tr ct Mu ta tio n pipes m ay rea so n a bly b e reg arded as a pra ctical recog n itio n o f Wh n the a f Na u an d n o t a s m m m . b the v l ws o t re, ere e piricis e , y respecti e in v n i n f i m o h u a n A o a fa i a ff e t o s o T t e s d g ric l , c lities were o rded fo r the

o n o O f a a a n k O f b m a n of o - d the in i a c tr l sep r te r s pipes y e s st p sli ers , pr c p l s o f o a d b ut t e u b id a a n u m d o h set pipes were is l te , h s s i ry r ks were l pe t get er o n o n e id b n o n d d it o u d a a a s u n o h or o u sl er, ei g c si ere , w l ppe r, w rt y, tside

th n o f a a o n . I n h o in a d the u se o f o m u n e ecessity, sep r ti t is wise rig te c po d sto ps . B u t presen tly th e Mi xtu re b eca m e s u bjected to a cu rio u sly artiﬁcia l u a h o m n d v d n to ho ha in th e iod s ge . T ere is s e i irect e i e ce s w t t per pre

n th o u a a m o m m o n kn o n as th e n i cedi g e religi s c t clys , c ly w Co t n en ta l “ ” R fo m a o n th e o a n wa s n o t u d to a o m an the v o o f h e r ti , rg se cc p y ices t e was o m m u d to a o m an the ho n a o n . It b u t m co greg ti s eti es se cc p y c ir, o re It O ften to take th e pla ce o f sin g in g a ltogether . seem s that it wa s cu sto m a ry fo r th e v erses o f the P salm s to b e taken altern a tely b y th e ch o ir h a n a n d in th e X Vth a n d X VIth n u i h o n a n d t e o rg , Ce t r es t ere is c stan t

w th n e a iv a s e c of the ro ce ss s i l surv i v e s i n th It i s c uri o u s h o e g t e p t p t l e n am e . The - m e c han i c a de v ice fo r sto i n the i n e ss o f wi n d to th e i sto p slide r is a l pp g gr p pe s . The fu n cti o n o f the sto p han dl e was thu s origin a lly re g arde d a s that of s i le n c i ng a ran k o f

i s n o t as n o w o f se rv in to b rin it i n o o e ra i on . p pe , , , g g t p t

[ 0 D IC TIONAR OF OR AN 4 Y G STOPS . m a n fo o who a h d a u a n ix u k T y ll wers, pre c e cr s de aga i st M t re wo r . he su ccess o f the m o v em e n t c an well b e m eas u red by the am o u n t o f a o o a u a fo h an p l g etic liter t re it c lled rt , d by the fa ct tha t it stirred the theo rists u p to po n der fo r them selv es wha t really wa s the fu n ctio n o f the Mix u n t re . Setti g a side th e so m ewha t a b o rtive attem pts at lig hten i n g the to u ch o f o rg a n s by the em plo ym en t o f split pallets (which affected the o n a d v o m n o f the o an in n o a ia b m an n m a b e a d t l e el p e t rg pprec le er) , it y s i that it was n o t u n til th e in tro du ctio n o f pn eu m a tic actio n s that the declin e o f Mix u b am a t all d a h n a s t res ec e wi espre d. Ev en t e the m o v em en t w

u a o n n d to E n i h o a n b u n n h n b virt lly c fi e gl s rg ildi g . A d t e a n n o u n cem e t y Mr - . H o o n at the b in n in O f the a d a t n u pe J es, eg g l st ec de o f he pa st ce t ry, o f his o m di a dm n of all Mix u an d m u a o n o k m a fa i c plete sc r e t t re t ti w r , y rly * b e a d to hav m a k d a d n st te e r e isti ct ep o ch in the histo ry o f the co n tro versy. Th e ado ptio n o f the pn eu m a tic a cti o n a n d m echa n ica l blo wi n g a t o n ce O pe n ed u p th e path fo r the develo p m e n t o f la rg e-sca led fo u n da tion wo rk a n d h a - u d o The m o d n u m u e vy press re ree w rk . er b ilder eets the req ire m n o f a b o d o f in n o t b a din o f M x u k b u t e ts l rg e ies s gers , y fierce i t re wo r , b a m a iv v o u m o f o o d u a n in fo u n da io n o o n b u d a y ss e l e g s st i g t t n e, c tri te like b Dia a o n a n d d . I n m o d a iz d o a n the m o m o d n y p s s ree s er te s e rg s , st er h o o o f o n a d n fin d it o b — n a v n f ab — o di n sc l t l esig s p ssi le y, e e pre er le t spe se

i h v n the f h a n d F f n h in fav o u o f a f D u b n w t e e Twel t i tee t , r s o t o le reed o th e An d a n h m o n D a n i Swell . cert i ly t e der i paso is well a b le to m a in ta n th e n a u m a f a n esse ti l s pre cy o the Gre t o rg a . The i u a io n so ha n is a h m b a a d b the fa ha s t t , it ppe s , r t er e rr sse y ct t t Mix u do n o t b n h m o n f u n a i n k hi is n o t t res le d well wit der o d t o w o r . T s “ ’ du e to a b s u rd win d- pressu res o r a n y o ther o f the fa m ilia r oétes n oz re s o f the ho o o f Old-fo do m h i h in n a o u to th e G o a n e ra sc l g ey , w c cl g s te ci sly e rg i i i I t m du e to th fa ha if o f o rg a n b u ld n g . is si ply e ct t t a respecta b le “ ” fo un da o n b e a dd d to an o a n hi h is a ll to th e m idd ti e rg w c p, le will b e fo u n d a n n an d ab n i au a h o id a u n a o r a in the w ti g , its se ce w ll c se rr l c , g p, o n a u u an a o o u to h a in the fa m a o o a n d b i d u m t l str ct re, l g s t t ili r picc l g r “ ” ff The o wa to m a o fu Mix u b n d i n th e o an e ect . s le y ke p wer l t res le rg is u b i u fo r D a a o n o m hin h i h fo r an o f m o a o a to s st t te i p s s s et g w c , w t re ppr pri te

* My re a so n s fo r m aki n g this se e m ing ly ra the r c o ntro v e rtibl e s ta te m e nt ha v e to do w t th e o rk o f de v e o i n the fo un da io n o k o f the o r a n hic h Mr H - i h . o e o n s w l p g t w r g , w p J e

m a de e c u ia rl his o wn . P e rso n al I do n o t fav o u r th e o ta a b o i tio n o f Mi x u p l y ly, t l l t re - ’ n m a W th r ard to Mr. H o e o n e s wo rk le t m e o rk s av e i s all o r ns . i e he e in w , g g p I , r , m e e an o ib l m i un de rs a n din s e iz e the o o r un it o f de fin o rde r to t y p ss e s t g , pp t y i ng m y - ti u de u i e in a n i m e son a s iri . Brie fl he re is a re a t de a l hic h is s im a t t q t p r l p t y, t g w ply m ag n ific e n t ; the re is a ls o tha t which I ca n n o t b u t re g ard as ra the r e x a gg e rate d a n d The H o e - o n e s o r a n m a o f e n ha v e s ra e d far fro m the az or- ath o v e rdo n e . p j g y t t y r p o f ’ - b o v e e v n i n . Bu t I e Mr H s o n a ide a s fa r a e h s wo k. pe rfe c tio s t . o pe Ion e t l l r I c o n side r - rm a n s fo c ibl u t i t the ue o m the m truly e po c h m a kin g (as the Ge r y p ) , tr c ple m e n t to the ” — W. o rk o f Fa he r H e n Wil is I . w t ry l J . D R ICTIONA Y OF ORG AN STOPS . 105

o d m a be d b as a h n D a a o n an m w r s, y escri ed yb rid b etwee a i p s d a Ga b a.

D a a o n are o m im in t au h m t u n i p s s s et es sl o tted o rder o c se t e o ite b etter, ” so a m d i h “ th u o o f th an . u a m it is cl i e , w t e pper w rk e o rg Tr ly o st f a o u o fo r the m a o n ha h o in m o m u h e ﬁc ci s pr cess , si ple re s t t t is sl tt g re ves c o f the o b o u fo u n a o n n ! Th o an ho o h h streper s d ti to e e Ge rgi sc l, w ic “ fa o u the h i n a a a u D u an a- o n d D a a on an d im v rs s r eki g pp r t s , lci t e i p s s , g a d m a n o f the m - o - o u n d m a b e f to the cr ck ree s s cki g erry g r s , y well le t di o n o f m g esti its o wn disordered fan cy. I t ay tru ly b e sa id that the

— - wa tchwo rd o f the m o st advan ced o rgan b u ildi n g as o f v o ice pro du ctio n u rit o ton e a n d o n o f the h f n f r h i is p y f , e c ie rea so s o t e d sa ppea ran ce o f o fu Mix u o th e fa ha the n o f u h a h p wer l t re st ps is ct t t prese ce s c pipes , e c h o wn a n dan i o f ha m o n in m a t h wit its tte t ser es r ics, is i ic l o t e du e re aliz a o n o f h The m o n an i ti t is ideal . der pl s to b u ild u p a s m u ch of the n a b an o f th e o an as o b f o m wi t/uh th f u n ecess ry rilli cy rg p ssi le r e o dati o n . * h ab o u n o n fo r the M x u i n m a o a n u T ere is s l tely ecessity i t re s ll rg s . Q ite u f n b i h n o f o n i ho u u n d ab o m in n s ﬁcie t r g t ess t e , w t t esir le pr e ce, is c o n b u d b the k n n o n a n d o av ou o n th tri te y ee stri g t e ct e c plers e Swell . An d

as the iz o f th e n u m n n a the a a of the b n s e i str e t i cre ses, gre ter p rt rillia cy c a n b e b u i u n n a b o n da D a a o n u in tatOn s an d h h lt p i ter lly y sec ry i p s s, Q ig I n a o an the M x u - pressu re reeds as well . l rg e rg s i t re serves a two fo ld u Its fu n o n to fu n ha m o n u p rpo se . cti is r ish r ics s pplem en ta ry to th e

o u n d o n to o o b o a the n a u a ha m o n i n h a a an g r t e, c rr r te t r l r ics t is c p city, d “ “ - a o to v as a ti m bre a o . E v n the o h a a o ls ser e cre t r e rc estr , cc rding to Die n e l a n n o u do ho u a a ha m o n o n d n h a the , c t q ite wit t rtiﬁci l r ics, c si eri g t t stren gthen i n g b y u n is o n s a n d o ctav es is n o thin g m o re n o r less than the

fu u i z a o n o f ha m o n i o r a ia u h as th e ft. an d 2 ft skil l t li ti r cs p rt ls , s c 4 . sto ps ” o f the o rga n pro du ce ? T he tim bre -crea tin g ofﬁce o f the Mi xt u re is b a d o n the a m m o hi h o m the v o i n of the P n a ft se s e tive w c pr pts ci g ri cip l 4 . lo u der than wo u ld b e dem a n ded were th e sto p m erely a n artiﬁcial

B u t h n o u ﬁ a o n in h fo r o fu do m n a n ha rm o n ic . t ere is j sti c ti t is p wer l i ti g The P n a m a u b e a d to e x te n d the D a a n Mi xtu res . ri cip l y j stly s i i p so t o n e in the sa m e m a n n er as a v ibra ti n g b ell ex ten ds its to n e when stru ck m o re ’ B u t hi h e r than the P in a the an a o a m to h fo rcibly. g r cip l l gy sc rcely see s o ld so g oo d ; the to n e o f the Grea t o rgan up to the Fifteen th is n o t so h o m o g e n e ou s as that Of a bell the Fifteen th do es n o t exten d the P rin cipal a m m a n n an d to the am d as do the P n a in the s e er s e egree, es ri cip l , the

D ia paso n .

f th a m a o f all in E n h o an b u d n has . O n e o e gre test ist kes , glis rg il i g , “ been th e whittli n g do wn o f the Mixtu re to a m ere three- ran k shrieking

‘ r an b an ossib e ob e c ion to a n a r is i - . No t of c o u rse , ha he e c e y j ca re a e d , t t t p l t t t lly t t l o r a n sav e in so far a s it re ac e s sto s of e ate e n e ra u i i Mi xture in a s m a l g , pl p gr r g l t l ty. ” — i n in Mo de rn O an B ui di n . 6 1 . S e e To n a l D e s g rg l g , pp 3

‘ ' r a n S o s . 8 . I Loche r. O g t p , p 3 1 06 D ICTION AR o r ORGAN S T P Y O S .

H ad the libera l co m po sitio n b een preserved co n cu rren tly h a d id d du o n i n o the u o u d ha b n far wit ec e re cti p wer, res lt w l ve ee less III- an d a ab . As m a an d the v b a n o f th e o u n is gree le tters st , ery re ess r ti e r k V o r VI o b u t to m ha z a n . I n an o an a st p serves e p si e its ssertive ess y rg , a n D u a n a M x u a a a d ou d b e far a iv ha n r k lci i t re, rtistic lly tre te , w l less ssert e t

- ll the o n v n n a I II an . If h M x u a n at a c e tio l r k sto p t e i t re is to b e ret i ed , let Mo i t b o a o m ha a ad u a o fo d Of . st s e c r cter, let it serve eq tely its tw l ﬁce st c a n u n it c an b m a b h n i ua is it b e s u ert i ly, less e de etter t a t u s lly , let p

d a o h a n d a d o h h h m bals rn u o . presse lt g et er pl ce t g et er wit t e Cy te , C cko , etc , n o the retired list . E n glish b u ilders g en erally have disca rded the Tierce ra n k a s i n co m pa tib le with the i n terva ls o f eq ua l te m pe ra m e n tsj' It is tru e tha t th e syste m O f eq ua l te m pera m en t dem a n ds so m e s u b dual o f the po wer o f M x u b u t a d d i n the i h o f a i a ha m o n h n o i t res, , reg r e l g t rt ﬁci l r ics , t ere is a rg u m e n t which c a n b e lev elled aga i n st Mixt u res which ca n n o t likewise b e b o u h to b a a a n n a u a h m n B u t n o t Na u h h is r g t e r g i st t r l a r o ics . it is t re w ic in the o n o u r a b a m f d v d n th o av n o v wr g , it is r itr ry syste o i i i g e ct e i t twel e n e Am an a m h u t h a to v a n u i h n o tes . O eric p p leteer sets o wit great displ y q s the Mixtu re by ta b u la tin g the gru eso m e disco rds pro du ced when a g iv en -c ho rd is s o un ded

Mix tu re to n e s .

Thu s

Res u lt 30

When to this is a dded the co n ﬂict b etwee n the perfect thirds a n d ﬁ f h o f the o m o u n d o an d th e in v a o f u a m t s c p st ps , ter ls eq l te pera m e n t

i h ha h d a n d ﬂa t f h th e u a n a o ho n a a on w t its s rp t ir s ﬁ t s , res lt t c c p y ppe rs ,

' a e r im a a in ! B u t the ho a um n is a o u redu etz p p , s ply pp ll g w le rg e t speci s o

* ’ Wha e v e r m a b e o n e s o in ion o f the fam o us o ld Con tin e n ta o r ans—suc h f t y p l g , o r ’ i n s an c e as Si b e rm an n s D re sde n i ns tru m e n ts—o n e hi n can a a s b e u r e d in t , l t g lw y g the ir fa v ou r a n d tha t i s the m a n iﬁc e n t b laz e o f to n e . Of c o u rse this re su l c a n o n l b , g , t y e — — o b ta in e d at the sac ri ﬁce o f wha t we ho ld m o re pre cio u s m as siv e Dia pa so n to n e a n d r ra f im B s uc h Mix ture work c a n no t b e e n du re d fo r a n y p o t c te d pe rio d o t e . ut i t is a o e th e r re fe a ble to the b a re En lis h wo rk ne i he o le ra b e n o r im o si n . lt g p r g , t r t l p g

“ Mix tu r ra n k d ur i n v al s . A Tie c e fo r i n s a n ce sou n d 1 e s are tu n e to p e te r r , t , s a pu re W h k b a d he in rv a l s e v e n e e n th ab o v e th e D ia aso n . he e as o n t e e o t e o f a se v e n t p r , y r , t f i a c rdi n to te e n th is fa r fro m ure o in to the s s e m o u n n co e ual e m e ra m e n t. p , w g y t t g g q t p The fa c ha the dis c o rd i s m o re n o ti ce a bl e i n the cas e of thi ds ha n o f ﬁf hs accou n t , t t r t t , ts fo r the s pe c ial a n tipathy displa ye d towards th e Tie rce .

108 D I TI r C ONARY o ORGAN S TOP S . wo u d m a o bl to a f nc M x u are n d u abl l see sc rcely p ssi e s tis y it, si e i t res . i isp t y m o d t fu - h o d o f a n an d are b u h d i n h n re ﬁtte o the ll c r style pl yi g, est p s e w e n o u t n n in th o o n m a n of the m o g ivi g si gle o tes e ba ss p rti of the co p ss . O e st a fa o M x th au h a w n a m a o an b W s tis ct ry i tures e thor ever e rd as i s ll rg y eigle,

- V in the H a at u a I t was a n o n d M x u . o ll St ttg rt . Stri g t e i t re i l M x u are m o a n n ot a abl h are too a b to b e i t res st cert i ly pr ctic e, t ey li le distu rb ed by the a ccu m u lation of du st b ut Geigen Mixtu res c an b e m ade m n n fa with e i e tly satis cto ry results . B n the M x u o f the fu u u to b e b o d in its in al rieﬂy, the , i t re t re req ires l iti m b u t u bdu d in It to e a a on d sche e, s e po wer . requ ires b rtistic lly t e “ ou hou the m a an n f r m o s ar m o m o d n thr g t co p ss, d ot le t to u n a k, a e st er m f t n F f o n . o b e at all h o m a . ar m speci e s I it is i serted , it is wo rt s e c re r b n a o rt it n n n d— an ei g w rk of a , is owa m ere co m m ercia l adj u ct. A str e — g that it sho u ld b e n ecessary to say so when o n ce m ade it requ ires to b e n Th m f M x a r n t t n d m u h tu ed. e aj ority o i tu res e o even pro perly u e c less ’ r l a t d f a th n f e u e o m o n e nd to e o . F o m a o o o m g , r e ye r s ther r the cti s e u who an a M x u n two f o in h m id f b d b . a il ers, pl t i t re etwee 8 t st ps t e dle o o u n dboa d m h n b e n f ha M x u au o Swell s r , it ig t eve i erred t t i t res were t

- m atic a lly self tu n in g . i f r r th e a S ubj o i n ed a re va r ou s schem es o com pou n d sto ps . Fo s ke o f n n i n th ak Of all the an ar v n n n a n co ve e ce e bre s r ks e gi e o ide tic l otes . Little in gen u ity will b e requ ired so to dispose the ra n ks as to break on differen t n o tes

— a M 1 n 1 S m a ll r a n M x u . G a x u 2 th a d 1 ( ) O g Swell i t re ( ) r ve i t re, sth u thro ugho t.

— - 2 S m a ll Or a n M x u . P re u o n an n d n d n 1 ( ) g Swell i t re s pp si g i epe e t 5th .

to F l no : 1 2 I 2 2 . 1 2 th m od a 2 2 n d b h 1 th CC il, 43 tes , 7, er te, rig t, 7 very

G to to : 8 1 2 1 . quiet . p , , 5 ll m l e m n Mix r n a l a n S che me b r u co e t o tu es o r e or a . 3) j f p f g g Great . - n n h n M o n an n d d 1 2t a d 1 th . a F x u P re su pp si g i epe e t s ( ) irst i t re, CC to l2 2 F n o : 1 1 1 1 2 2 . G to to : 8 8 1 2 1 . b on d # , 43 tes 5, 7, 9, , p , , , 5 ( ) Sec

: 10 1 2 1 . 1 2 th an d 1 th to d m n a to to o . Mixtu re . CC p 5, , , 5 s pre i te

- Mix u . P re u o n ft. o a n d P o o . a Swell t re s pp si g 4 st p, icc l ( ) First

M x u . to B 8 n o : 1 2 1 1 2 2 . to to : 1 8 1 2 1 i t re CC , 4 tes , 5, 9, C p , , , 5.

All fai l o fu . b o nd M x u . to F n o : 1 0 r y p wer l ( ) Sec i t re CC it, 43 tes 5, ,

1 122 1 2 2 . G to to : 1 8 1 0 1 . 7, , p , 5, , , 5 The a b o v e Mi xtures are design ed o n the prin ciple tha t n o Mixt u re sho uld

in the -an d-a-ha f o av be l break ﬁrst three l ct es , an d co n sequ en tly the ra n ks which can n o t b e

Th n - o n d hu x d as h h an i n th e b ass . e Twe ty sec is t s ﬁ e the ig est r k b ass .

1 e re se n s un iso n 8 oc av e . r p t , t D I I R 1 0 CT ONA Y o r O RGAN STOP S . 9

An o h m axim h fo o d M x u a ha the u n is n ot t er ere ll we (Swell i t re, ) is t t Q i t to b e in tro du ced i n the u pper po rtio n o f the co m pa ss u n less u sed thro u g h

- o ut. Th m h 1 ft o n . e sa e a pplies to o ther Odd n u m b ered partials o f t e 6 . t e Readers will n o tice that the Tierce an d Flat Septi m e (a n ) are in c o rpo r a d in h h h n a h d ff n m O . an n o o te t ese sc em es. Sc e e N 4 is pl ed lt g et er i ere t i n It n h Mix u h m u . N o m an l es . represe ts t e t re sc e es sed by Messrs r B a d the b a h ﬁrm t W m n R o m an a h o e r , cele r ted No rwic , a est i ster C t lic

a h d a Lo n don m o a a n ua O a n . C t e r l, (Te p r ry S ct ry rg )

G a o an . to F 1 n o : 1 1 2 2 . Fid. G to (4) re t rg CC # , 9 tes 5, 9, C,

1 8 n o : 8 1 2 1 . to to : 1 tes , , 5 C p ,

O an . to F : 1 1 2 2 2 6 2 . Fid. G to : 8 1 2 Swell rg CC # 5, 9, , , 9 C , ,

2 2 . to to : I 8 1 2 1 . C p , 5, , , 5 Th n x h M x u a t th e e h m N o . ha o f t e a an e t sc e e, 5, is t t Gre t Org i t re W wa Lo n do n O an hoo P n . P o O an It s rg Sc l , ri ces Street, ( sitive rg b r h m a n a n his a u Mr R a b u An d d n o a o d o . n esig ed y M . T s C ss c lle g e e r rew,

M. A. h is a a a f h a nd F f n h the o u n db o a d is a o T ere sep r te Twel t i tee t , s r ls m m h u The ca rried u p fo r a n extra o ctave to a cco odate t e o cta v e co pler . — n It 4 refers to a ran k which a ctu a lly ru s a fo u rth b elo w the u n iso n . is

a f h t th m an u a 2 ft. o n D o 2 twel t o e l 3 t e ( lce, 3

With Oc ta v e C ou pl e r D rawn .

2 2

2 1 I 9 I 7 I S I S 15 I S 14 D 14 F t 14 G I 4 G I 4 I f C 4 10 D 3 8 G ‘ v 7 8 — 3 ft. Fr. Mo n Sho h n I 6 ft. 8 o d M O N T R E , ( ) tre w, s p wi ow. m f r D a a o n o n a n i th fa h A Fren ch n a e o i p s , rigi ti g w th e ct t at the sto p h f n o f h frequ en tly fo rm ed the s o w ro t t e o rgan .

— E Mo u n te d C o rn et See CORN T .

- - Mu n d m ou 2 ft. E u a n to F au a B c Mu n dﬂ bte th . q iv le t l t e q.

Kon ig sb erg Cathedral . 1 1 0 D ICTION ARY O F O R GAN STOPS . — M E E S ft m m 1 6 ft ft. U S TT . ; so eti es . ; 4

M h a n n ha u m au an d The u sette is a dev elo p m en t o f t e cie t C l e , hou h n o t was o rigin ally said to b e i m itativ e o f the Bagpipes . T g u n o m m o n in F an the o a to be m e t h in h c r ce, st p is r rely wit t is i h m a i n the o u n . Its o n h n an d ua n o m a c try t e is t i p q t, s ew t si il r b t f r n Th o f the Mu v a tre le o that o the C o A glais . e pipes sette ry i n ha G n a h m b ho o f the O h a O b o s pe. e er lly t ey rese le t se rc estr l e o r th V x I t m a h a s a f o r a b a n e o H u m ana . is de eit er ree e ti g h is m n f th at R u b reed. T ere a g ood speci e o e latter type g y h o Th u n a fo m Sc o l Speech R oo m ( B ryc e so n ) . e ﬁg re represe ts r

o f Mu n f N n h a m . hn H . o m o o o n v n d b Mr. o sette i e te y J C pt—, tti g The i s a d at to b ut at ab o u o n e hi d o f the n h pipe c ppe p, t t r le gt of the m a u d f o m the to is d a m a o u n d pipe, e s re r p, pierce s ll r

ho . The u o o n o f the a n as a o n a n le pper p rti pipe, cti g res ti g “ ” ham b m a a v u a n a n d a o a ff to the o n . c er, i p rts ery q i t p st r l e ect t e The u b h h are a oxim a ha f- n h R EED an d t es, w ic ppr tely l le gt (see ) , m ad o f u tin are o f v na o w a a n d the o n c n s e p re , ery rr sc le, t e, o e i i u n s v h n an d d a . q e tly, ery t elic te

i s r Mu i Mu ic i e n to m a k m u i . s c rg e da c kt e s c 8 ft. A s oft a cco m pan i m en tal Gedeckt fo u n d in a n cie n t Ger m a n

o rgan s .

M u t a t i o n S t o p .

The m Mu a io n o m i ho o the f h i h ter t t c pr ses t se st ps , pipes o w c o u n d at a h o h han ha o f u n o n o r o n e o f s pitc t er t t t is its o ctav es . u h o are u in f h La o F a m S c st ps Q t, Twel t , Tierce, rig t, l t Septi e,

- T n ix h . I n a the n a m Mu i we ty s t , etc pr ctice e ta t o n wo rk is a pplied “ u s a o to M x u a ho u h the a m a o n a n u h fo un d M e tte . ls i t res, lt g l tter y c t i s c a o n an as P in i a Fif n h n - o ti r ks r c p l, tee t , Twe ty sec n d. See

FO U N D ATI ON STO PS .

M V i l - VIOLE OU R D INE u t e d o See S .

N .

N A H T H O R N N h H o n . R C ig t r See CO D E N U IT.

N A S AT - Na ad N a a d Na saz N assat ssa tt N z a s , s r , , , N a , a rd, N az a rdo .

Th e f h . o m m no n m o u h R au sc h u in t Twel t S eti es sy y s wit q (g o ) . The n am iv d f d o m h I Ge r. N a n o . F o m th e is er e r eit er ( ) , ( ) se se r e b a n a a o u n d u o h in f d o du d b t e ou n d o f h . r re s l s s pp se ly pr ce y s g ﬁ t s O ,

Ge r. Na h z n to a h n I n th a n n m iv ( ) c set e pl ce b e i d. e cie t pri it e o rgan s h P a n t e Lat. P rae stare t a n f m th rest t ( , o st d b e o re) co po sed e ﬁrst ro w o f the M x u o m m a d Na h a z a n d n b h n pipes , i t re, s eti es c lle c s t , st i g e i d. It is ho u h ha a i o f h u i i h n a m a a t g t t t rel c t is s rv ves n t e e N s t .

1 1 2 D I TI C ONAR Y OF O RGAN S TOP S .

The bo u i n n a n ha a m b in O e em its a q et to e o f a stra gely w ili g c r cter, rese l g ha f a h h - I n the n o o a d a u a t t o ig pitched n a sal v o ice . te r ct ve it yiel s pec li rly n m the wo o f the m u ffl d o n . R a din at th e , e t e eg r g , prese t ti e rk m o n a v E n h m o u d a a ha th e o ld st represe t ti e glis fir s, it w l ppe r t t fa h n n a n m n n o o u om hin m o s io ed Ob o e to e is ag i co i g i t v g e, s et g re po werfu l b u t less pla i n tiv e havi ng in the m ea n tim e largely b een u b i u It n o t d f u to d n a d a u a s st t ted. is i fic lt iscer irect c s l n exu s between this an d the wo n derfu l a dv an ce in the directio n o f sm o o th reed v o icin g witn essed du ri n g the ha the a d a te n a . Th bo p st ye rs e O e is , per ps , e siest ree f l h u d if o a l to v . m is n v o ice S o e care , e ert eless , req ire , h The t e ba ss is to b e kept s m o o th an d free fro m ra ttle . Swell Ob o e was fo rm erly the first reed to b e i n serted i n the o a n o ba b o n a o u n Of du a fu n o n a s c o m rg , pr ly cc t its l cti n n fa r a s o m b in a o n a u a bi atio al a n d s o lo sto p . S o c ti l s g e o n n d the m od n k n S n Gam b a h o v is c cer e , er ee tri g , we er, An d fo r pro v es a satisfa cto ry su b stitu te for this st o p . o o u o bo o n m a O f n a i fa o b e s l p rp ses, O e t e y te s t s ct rily Vi a n F u b u ilt u p b y so m e su ch co m bi n atio n as o l d l te . It n ow n a a d a m o n h o who k in is g e er lly gree , gst t se eep o u h h the d v o m n o f o n a d i n h a a fu t c wit e el p e t t l es g , t t ller m As th e to n ed reed is a lto gether o re serv iceab le . first d o f the o an h fo in m o d n o a n d i n n ree rg , t ere re, er rg es g i g the Co rn o pea n is u s ua lly selected in preferen ce to the a -H R N Ob o e (s e e lso OBOE O ) . The O rc he s tra l Ob o e is Often m a de like an o d n a b o bu t o f v m u h m o n d a r i ry O e, ery c re sle er sc le

Th e o n u o f o u are a d a . B u t t g es , c rse, tre te speci lly an o h fo m h h has fo u n d fav ou h n do n t er r , w ic r wit i le t b u i d o n i o f an o d n a m a - a d Ob o i l ers , c s sts r i ry s ll sc le e p pe, th t hin o r i u th e with a slo t c u t u n der e b ell o t d l te to n e . a n v n Mr o Th e Orchestra l Ob o e was re lly i e ted by . Ge rg e H n W Wi a b o h o f th e a Mr. i an d th llis, r t er l te e ry ill s , e “ f u n f th Wi m o f d—v o in Th o der o e llis syste ree ic g . e W a n m ad Of n v d o n a i a illis p tter is e i erte c ic l p pes, c pped d a r u u a a t th to . Th are o d a n e e p ey sl tte , s lly pierced o m m t i with a ho le o ppo site to the slo t . S eti es h e p pes ( Willis) T is u were m ade with fo u r slo ts . he sto p u s a lly pla ced

- o n a h av in d u r a n d th e b o m a . Th n e y w press e, re is s ll e to e i s

v u a n h a n o f u d b v a b u d ery piq t . T is p tter pipe is se y se er l il ers . W Wa k a n d o h m ha a o m o d o n o n a illis, l er, t er ﬁr s ve ls e pl ye pe c ic l W h a o o xa m at . i h u b . d b u h p pes wit o t ells T ere is g e ple St er rg ,

D Wa b u b v In g am ) . Ye t an o h o f erby ( lker, re ilt r t er type D I I N AR F R AN T PS [ 1 CT O Y O O G S O . 3

O h a Ob o was n n r - i v i u a n in H o o n . It s rc estr l e i ve ted b y M . pe J es ery p q t o n a n d o b o d v n h n th W v The i are t e p ssesses less y e e t a e illis a riety. p pes f o th e m o d m n u iv a d n n as h a n d a n d o f u n h . st i i t e sc le, wi e i g t ey sce , tr e le g t

h are o m m u m o u n d b b an d are u ua m ad o f tip . T ey s eti es s r te y ells, s lly e The o n u r hu h No m a n a e v n a o b u t h . B u n P a h t g es ery rr w, t ick rto ris C rc ( r B a d a n d H o - n Ba B a h n n e r , pe Jo es) ; ttersea P o lytechn ic ( e le T y e, o d b Wh r n a to v ice y iteley) . There is n o do u bt tha t thick to n g u es a e esse ti l th e b o n est resu lts . U n der su ch co n ditio n s o n ly is it po ssib le to ge t a t e ua n a h ha n h n a n h I n a n d u o f piq t, r t er t t i d c a racterless . cre sed wi press re is, o u n a d b u t the u bdu d o o f the o m a b e a in d c rse, ecessit te , s e p wer st p y ret e b the u se o f n a h The is a d i h fu o y rro w s allo ts . C o n tra O b o e el g t l st p , ’ a fu m f W a re s o speci lly u se l as a qu iet Swell do u ble reed. So e o illis

m o o h as to u the o m b n a io n o f a ﬂue h h h n s t s gg est c i t pipe t erewit , w e h a d in n a t hi b o o o s o n an In ft. h the O e r c tr st ﬁery C r o pe s . 4 pitc e is o a o na m o d as a n E h Ex o b u n d cc si lly e pl ye c o Clario n . cept p ssi ly er x m u m a n in a ham b o n h a i the o is e tre e circ st ces c er rga , in su c a cap c ty st p f n i a v a u o o pract c l l e .

' ’ — o Am O BO E boe d Am o re O b d ou . Lat. Am o o v . O e r ( ) r l e See ,

E C HO .

— ’ O b o e Ec ho Ob o e d Am o re (a n ) .

f o f u b du d n An b o o o . Th a re u u a a d. O e s t , s e t e e pipes s lly c ppe ’ u z E ho - b o a t A m hu h L a u ﬂ u o Sch l e s c O e r ley C rc , eeds, is q iet wo o d e st p,

- is in Its o n d n u i h . The n d. ab f o m ha o f a d o n 15in . wi t e isti g s le r t t ree v o ici ng presen ted su ch difﬁcu lty tha t Schu lz e v o wed he wo u ld n ev er m ake Whi d v n o f a ll d a s a n e xe m liﬁc atio n o f the a n o ther . lst eser i g cre it p

' v b A rtzs e st ce la re a rte m u h f a o f d m a in are a b u pro er , s c e ts leger e so l tely ' v i o f a ll a a v a u . Th e n u m n Ob o d Am o re was a n de o d pr ctic l l e i str e t, e , w h u m Ba h . alto Ob o e It as u c sed by J . S . c An exam ple o f this o rga n

Wa h n o n m . . u a t U S A. K m b a sto p o cc rs s i gt Te ple, , ( i ll,

- — ft O b o e Fl ute 4 . d i a F u n v n d b Wi iam H O f ma a a n d h A el c te l te i e te y ll ill, s ll sc le slig tly An xa m x d at Wo h d o n . a a . Ob o stringy t e e ple e iste rcester C t e r l s lete .

- — ft. O B O E H O R N 1 6 ft. ; 8

- - I n v n d b Mr. H o o n . The Ob o H o n a s n am m i e te y pe J es e r , its e i pl es, b e d b d o n a as a o b n an b o an d a m ay escri e t lly cr ss etwee O e Ho rn . I n u o n it an O b o o f a a h h d o n u co n str cti is e l rg e sc le, wit weig te t g es . The Ob o e-H o rn was desig n ed as a co m pro m ise su ited to th e co n ditio n s de

n Ob o . V o a Ro o m f on o n l ﬁ l tailed u der e ict ri s , Cli t Su tt Co d e d Llan daff

Ca thedra l . — b tusior. Lat. O btu rare to o u c E n b Ob tus a O ( ) st p p ; f ( g) o tu se . n am f r d o u n i n a n n A e o Ge eckt cc rri g cie t speciﬁcatio n s . 1 1 DICTIO N AR O F O R AN S T P 4 Y G O S . — O c a ri n a 4 ft. An o a o n a m d O a n a o u o n the G a o a n a t B d~ ct ve st p, e c ri , cc rs re t rg ri

Mr. lin to n P o hu h An n e e sse n s o f G am o n B iu m . G o g ri ry C rc ( , r t, elg ) e rg e P a m an F o f G a o a n d a o an i o f ha hu h n d T . t , l sg w, l te rg st t t C rc , ki ly n f m h h ha th o a m a o n e Of u n h m b i n i o r s t e au t o r t t e st p is et l tr e le gt , rese l g h an a n a o f m a h n h in ton e a H arm o n ic Flu te . T ere is Oc ri si il r pitc o t e P o f o f the o an a t v a h d a A u in o Am é z ua siti rg Se ille C t e r l ( q il ,

~ M l f a 8 f . An a d t o D a a n . O c t a Y e an ua 4 t. pe l ct ve i p s o

“ The n a m e Octav e is su rely m o re ra ti o n a l in a pplica ti o n tha n ”

P n a . Th e a m is n d d m o d in m a n t ri cip l l tter ter , i ee , e pl ye Ger y o

d i n a the in i a o o f th e o a n the D a a o n . The O av o f es g te pr c p l st ps rg , i p s s ct e, o u o f o o io n a m a a an d v o d a h h n c rse, is pr p rt tely s ller sc le, ice r t er brig ter tha n n i a o n A di n o n n o wu u a d a n b n the u iso D ap s . sti cti is s lly r w etwee Octave a n d P n a the fo m b n o ud an d fu - a d the a m o u b du ri cip l, r er ei g l ll sc le , l tter re s ed a n d b i h The O av the o n n in n k b e n th e fo u n da io n r g t . ct e is c ect g li etw e t - f I t h u sto ps a n d the hig her pitched sto ps o the o rg an . s o ld therefo re b e h a It i desig n ed an d v o iced wit v ery g re t care . s to the bo ldn ess o f the f h o d a n d b a n o f th O ctav e th a t m u ch o t e s li ity rilli cy e wo rk o f th e la te Mr. As a da l o the av n w u H en ry Willis is du e . pe st p Oct e is o s ually an ex ten sion O f the Maj o r B ass . — o . O c ta v e C la rio n z ft. Ob s lete A reed o f su per-o ctav e pitch is o ccasi o n ally to b e fo u n d in a n cien t n a On e u h x o n the P da o a t o o n a h d a . o rg a n s . s c e ists e l rg C l g e C t e r l

u l e r z o Ma n o hi d han d O c t a v e C o p Ter t r ) . “ ” So m etim es Octav es (plu ra l to disti ng u ish it fro m th e s o un din g

o O a v . st p, ct e) A Co u pler co n tro lli n g a n arran gem en t whereb y the o ctav e keys to all o n o n e m an u a o r the da a re b o u h i n a tho se de pressed l pe l r g t to cti o n .

u n th e o u d do n o t fa a s i h m ha n With pn eu m atic co pli g c ple keys ll w t ec ica l .

add v a to the o u o f a n o an a u a i Octave Co u plers stly res rces rg , p rtic l rly f th e in stru m en t b e desig n ed with a v iew to their i n clu sio n a s pa rt o f the I n I a the a o u . O da f m aggrega te to n al schem e t ly ct ve C pler tes ro a very Fo r a d i io n o f O a o u fu n o n n f o m o n e early perio d. escr pt ct ve C plers cti i g r

a n o h OUP LER . m a n ual to t er, see C

N — AV O C TAVE D IA P A S O See OCT E . — H a a o n . ft H A TB u b o . U O O c ta v e Ha utb o y t y Cl ri 4 See Y . — O c ta v e Ob o e S e e a b o v e .

- TW TI-I ft. ELF O CT AV E Q U I N T 2§r See .

f n h 2 ft. O c ta v i n Fi tee t .

MA OR BASS Offe n b as s O pen B ass . See J .

1 16 D ICTIO NARY O F O RGAN STOPS .

P hilo m e l a n ightin gale .

- D lﬂ t o r o o d S te n to r ho n o m h n af r A large scaled so lo o ppe O e w p , s et i g te

AL T n n n a o n H a U . S . A. the Ti b ia Plen a style (see JU B FLO E) . Ci ci ti C cert ll, h a m u a n u m n o f the n a m m ad i n (H o o k Ha sti ng s) . T ere is sic l i str e t e e

V b ut has n . a f m . It a n to the o n va rio u s classic l o r s is ki i li , wire stri gs

m h n P h o c in x Kru m o r .

/ o u n o r o v e ﬁ a n P h o n e u m a . p( an !7 s d v ice ; p sig ,

f m a v e r/ a b a h o r i f u n . B u t o b o zl e . a n o a o d , s g s p ssi ly r p re t — f i If the a m a n n b e ha n n d d spirit v o ice o the sp rit . l tter e i g t t i te e ,

- I n n d b Mr. H o on . th e 71 S ho u ld n o t hav e been elided. ve te y pe J es

8 ft. 1 6 ft.

Th e P h o n e u m a o u h a in a o d o f D u an a a , r g ly spe k g , is st ppe pipe lci sc le,

ak n a s a u in ta t n It ho v m o n in ha a han spe i g Q O . is , we er, re stri gy c r cter t ’ - in Mr H - n he a n a P h n u m a as fo u n d . o o t m o . The o e l st ed st p , pe J es

o an is u a fan o ba a u d b . It is u fu o a o n a fo r rg s , p rely cy st p, rely i le se l cc si lly a ff b u t i n a i m o o f a u io i n o i in han an speci l e ects , it is re l ty re c r sity v c g t y h a r u a b a d d I n m h n The o o a v o f t e o e u . o t i g else . l wer ct es st p s lly e r e s e

xa m le a u ia o f th e v o n ha the n i k n x n d b u t ha f e p s , pec l rity ici g is t t c i g e te s l f f The m o u h o f the Ph o n m way a c1 0 ss the a ce o th e lan g u id. t e u a is 1 n a o b n i n o m i n a n o n O f the u m f n o f the i ; rr w, ei g s e st ces ly 1; circ ere ce p pe

’ Occasio n a lly two P ho n e u m a s a re ca u sed to bea t togeth er as a Vo ix Celeste wa s i n E LE STI N A . In fa the P ho n e u m a o a n u (see C ) ct, rig lly i tro d ced as a s o a a n d to b a i h a G d k a u m a n h h a o t p rr g e e t w t e ec t, circ st ce w ic cc u n ts fo r “ the stereo typed deﬁ n iti o n O f the sto p as s o m ethi n g o f the n a t u re O f the

‘ V x Wh n i d a s a u i a n d k n u in t o . v o ato n th i Céleste e ce q et ee Q , e sto p m i h b e m o ff i v m o d as a tim bre a o a n d v n h g t st e ect ely e pl ye cre t r, e e , per aps,

S t. Ma k B i a s a n a o m a n m n to a o o o . h o n . M ha cc p i e t s l st p r , r g t St ic el, W H - n B u n P i h u a . o o o a h h u h N m C ester Sq re , ( pe J es) ; rt r s C rc ( o r a n

- - B a d a n d H o o n . In 1 6 ft. i h Oa h P a k o n a o n a e r pe J es) p tc , kleig r C g reg ti l n - n W h u h I a m H o o O h o . R C n S . C rc ( gr , pe J es rc estrelle , eg e t treet, — Au in an o . o f I n Fi A. P b O C U . S . an h h ( st rg , rst res yteri C u rc , ’ i - M n a N Au n a n o . H o o n o O C e . o h n h tcl r, J ( sti rg , pe J s) ; St J s Sc oo l, M n u H - a N . Y . o o n an d H a o n . li s , ( pe J es rris )

P H Y S H A R M O N IK A Phisha rm n ik h o a a n . 8 ft. 1 ft , Ser p i e 6 .

V a f a irtu lly a set o H rm o n i u m (free) reeds i n co rpo ra ted in the o rg an r i T he P hysha m o n ka is u su ally u n pro v ided with tu b es a n d fe d fro m a a a v o i the wn d u o f hi h f sep r te reser r, i press re w c is ca pa ble o b ei ng v a ried n f a a a by m ea s o ped l t the co n so le . The po wer O f the P hysh arm o n ika is hu u ib O f v a ia o n ho u an o n o m a n a a io n f t s s scept le r ti wit t y c c it t lter t o pitch . The P hysh arm o n ika c an b e u sed expressi v ely with excellen t effect i n a 1 1 D ICTIO NARY O F ORGAN S TOPS . 7 reso n an t b u ilding it is likewise a n excellen t tim bre -crea to r when co m bi n ed i h o h a o n a o o d d h ho u b w t t er sto ps. Occ si lly the st p is pr vi e wit s rt t es , h h x n as h do b u t i h in u n o n the i h o f the o w ic , e ercisi g t ey sl g t ﬂ e ce p tc st p , d l n t r Mu n h o n o t n f i h x fa . m Mii s e i ter ere w t its e pressive cilities U , ic ll b o n H a R a a h d a B o o n Mu Ha . P b u a C cert ll , ig C t e r l, st sic ll , St eters rg ( y ’ Walc ke r Wi n hu if h an d n a o u u a . Th e ) tert r St tskirc e Jews Sy g g e, St ttg rt he n u m n i f o u o u . T P h sha rm o n ika s a o u d b M. P u o y ls se y g et , T l se i str e t 2 I t was o f the n a m e was pate n ted by An to n H ae c kl a t Vien n a i n 1 8 1 . o n e o f the u o O f the m o d n Ha m o n u m ho u h n o t x iv prec rs rs er r i , t g e press e u b M . N o m a n 8: B a d o a on a a a (see FR E E R E ED ) . essrs r e r cc si lly pply t eless x i f “ hm n t a n u o n hu h u e press ve ree reed a ttac e t o o rg s S tt C rc , S rrey) , n a f r th P da o a n See KE RO P HO N E . A sim ila r a rran gem e t is prep red o e e l rg

- o f the h a m in h m b an b u b Mr o m o n for Mr. A. c r g little c a er o rg ilt y . C pt

A m i a W B d fo d N o in ha m . r t g e, est ri g r , tt g — P i c c o l o 2 ft.

The P icco lo is a su per-o ctav e sto p o f m o re liqu id a n d ﬂ u te y to n e tha n h u a fo un o n the o r ho o a n . T e th e Fifteen th . It is u s lly d Swell C ir rg P o o m a o f ha m o n i fo r h n so o n u d it icc l is b est de r ic p pes , , w e c str cte , is less

h n f m a u a n u ua io n o f n d u a n d a ffected b y c a g e o te per t re d ﬂ ct t wi press re, h H a m o n i P a o O f n o t so pro n e to dera n g em en t by dirt . T e r c icco lo is ls

- fu ller a n d pu rer to n e tha n the tru e len gth v a riety.

a v P i c c o l o H a r m o n i q u e See b o e . — I E R E D P i d Gam b a P i d a i io n a . P C erce , erce S l c l , etc

“ n n u i h A o a n n in P ierced is a preﬁ x sy o ym o s w t slo tted. sl t is O pe g W c u t in th e side o f th e pipe n ea r the to p. hen o f n a rro w dia m eter it h a s

h e ff o f a n in the o u n d o n o f a - a d a n d f t e ect we ke g gr t e l rg e sc le pipes , o

n n h m o m ha ho n in ha a D IAPASO N n re deri g t e s ew t r y c r cter (see , Sectio “ " m a - a d a re a o aff d b o in ho u h n o t to the am S ll sc le pipes ls ecte y sl tt g , t g s e a m b a a n d V o are n a o d—a s m u h fo r th u exte n t . G s i ls g e er lly sl tte c e p rpo se

f fa a n u n n as fo r a n h n . o m im the x P i d o cilit ti g t i g yt i g else S et es preﬁ , erce ,

t a n a a n m n m a to h a de b d u n a u refers o rr g e e t si il r t t scri e der Ker lo pho n . h w s h a H . T e o d a a o u b L A a h a d d . F r St . s p C t e r l ( ill) w r ls se y ewis o N P I Wh n a o n ALICION AL GEIGE R N C I PAL . a illu str ti , see S , , etc e pplied to

d the x P d i m ha a ho b o d h u h sto ppe pipes, preﬁ , ierce , plies t t le is re t ro g o in fa ha the b o n to the a n o n as H f the st pper, ct , t t pipes el g cl ss k w a l

Sto pped P ipes . — FLAU TO R AVE RSO B IFARA . P iff a ro See T ,

h ’ a a n a at h n e r s n ecaoclz La Lat. P ile a t we ri g , w e ce, p y , ( te ) sto pp ed 1 1 8 D ICTIO N A R O F O R AN Y G STOP S .

P il e r h r m h g c o pilgri c o ir .

A Vo x H u m a na ff fo u n d in o m an i n G m an o a n n n d e ect s e c e t er rg s, i te ed to n the d a n n n of m represe t ist t si gi g pilgri s.

PL E I N J E U F M x u ll i tu re .

’ P Io c kﬂ Ot —A o u o n Of Blo c kﬂ t e c rr pti o e .

P O LY P H O N E P IP E S — n R HR F See u der O LOTE .

P m m — n m a i o e r O o o o MBAR D E . t p e c . See B O

P O RT U N A L —B r B rdu n al is o du n al, B o rdu n a lﬂo te , P ortu n al ﬂo te . o

o ba b the m o o n the n am b n d v d f om pr ly re c rrect spelli g , e ei g eri e r B o u do n A b P n a i n . f . ft. r . l eit o rtu n al is the a ccepted prese t t o 8 t ; 4 The P ortu nal is co m po sed o f O pen wo o den pipes widen in g as they a n sce d. The to n e is v elv ety an d o ften acco m pa n ied b y a m o dicu m o f in o n a s is the a h so m a n o f the G m a n v a i O f F u str g t e, c se wit y er riet es l te , The b a o f th r ss e Q u e flOte wa s so m etim es fo rm ed o f P o rtu n al pipes .

P o m Ma n u a 8 i . s a u n e u . r da 1 6 f . Tr pet l , ; pe l, t

- o n a Po a u n : Man ua 1 6 ft. da 2 ft C tr s e l, ; pe l , 3 .

On the Peda l o rg a n the P o s au n e is equ iv a le n t to a s m o o th po werfu l

m - Tro b o n e (sub g o ) . The m a n u a l P o sau n e is a l a rge sca led Tru m pet o f f n d a h a n n W i m o u a b o . h o o fu han th e u m p wer l r t er l ri g t e lst re p wer l t Tr pet, o n o n o f the m o o h u ba u a i O f the o m ‘ a it p ssesses e s t T q l ty Tr b . — P R E S TA N T See P R ESTANT .

P r riu s r An a P re s s io r e sso pressed o clo sed. n cien t nam e fo r

Gedackt. — N T . P R E TA P rae sta n t Lat. P rae stare to an d b f S ( ) st e o re . Origin ally in Germ an y a n d Fra n ce the wo rd Prae sta n t wa s em ployed to d i n a ho i an d n in the a MON TR E an d N ASAT es g te t se p pes st i g c se (see ) .

La in o m an wi h P n z a b a m a d to D a a o n f 2 f O t. ter, c p y t ri ip l , it ec e pplie i p s s 3 , in n 1 6 ft. 8 ft. a n d ft. h . As E an d P n a n , 4 pitc gl , ri cip l is o w a pplied to i n F n P a n a t a ft. Dia a o n so a o a b he a m o n n o a i 4 p s , ls r ce, rest t e rs s e c t t o n .

P ri m a ria Pri m u s ﬁrst. n a o n f P n Equ iv a len t to the a n cien t de o t ti o re sta t.

— R E U LA an d P R IMAR IA P ri m a ri a Re g u la See G .

P r i n c i p a l Prin z ipa l . V In h o u n a ft. D a a o n OCTA E . I n G m a n P n z i t is c try 4 i p s (see ) er y, ri pal

f 2 ft 1 6 ft. 8 f a u n the D a a o n o . t. an d ft. h v rio sly represe ts i p s s 3 , , 4 pitc .

1 0 DI TIONAR O F OR GAN 2 C Y STOPS .

h h n d d d ha f o m m to m b n m ad . h o n w ic wi is irecte , ve r ti e ti e ee e T eir t e is

- a t to be u a an d de ﬁne d an d n a u n a fa o . p irreg l r, ill , g e er lly s tis ct ry

TO PP S ER . D ICTIONAR O F ORGAN T P 1 Y S O S . 1 2

The au ho has in o o n o u f x n ff t r, , his p ssessi , h wever, a C b e o e celle t e ect, m ad an d o Mr m d b . o o n the o n f h h om ha m b e v ice y C pt , t e o w ic s ew t rese les ’ ha f h a m o t e bu d b a Mo . Th t t s e il er s Ti i llis e lip is leathered. C u be b asses m h b e fo u n d o f a u h n d a n ua o n o f o m ig t gre t tility, w e e li g with sit ti s s e a wkwa rdn ess .

ua Q dra g e s i m a fo rtieth . M x u a n o f h are om m f l n i t re r ks hig pitch s eti es ou nd in O d Italian o rg a s, d a n a a r wi g sep r tely. — - ua dra e m Lat fo . Q g s i a Te rz a ( ) rty third. See ab ove — Q ua rte See RAUS C II QU IN T. So a d f o m the in a o f a fo u h n a rtus a a n h c lle r terv l rt (Lat. g ) sep r ti g t e f F f Twel th an d i teen th . ’ — u rﬂ t Ge r u a o . FLA T RAVER Q e O e ( ) Q er cr ss See U O T S O .

f n h Q u i n c e n a Fi tee t . — in . La Ge r. an d Fr. u t n f . Q u i n t ( ) Q te ( . ) Qu i tu s ﬁ th Man ual

ft da 1 0 ft. B u t the n a m o m m u f r . ; pe l , § e is s eti es sed o Octave

Man a 2 . u n o r f h . u ft da ft. h u z a Q i t Twel t l, § pe l, 5s Sc l e t m n m W h B n a h d a a d the K b a o . at a n o n m re e C t e r l , i ll C s i g t Te ple,

a a u n o f h . i n serted ped l Q i t “ is ft. pitc

in Mu a o n o ak n h n a u f The u is a a m n a o o ft. Q t t ti st p, spe i g (w e l st p 5; th e n f a f h a b o v th Th i f le n g th) at i terval o ﬁ t e e u n iso n pitch . e p pes o v u f m ' the m a n u al Qui n t are o f ario s o r s . In this coun try they are n early

a a o d. Ab oad h are a o v a ou l o f n d a o n i lw ys st ppe r t ey ls ri s y cyli ric l pe p pes, a n G m ho n d n n D o i o r o n an u a o od t peri g e s r pipes, wi e i g lce p pes , pe rect g l r w f a a the Man ua u in as an n d n d n o has n pipes . O l te ye rs l Q t ( i epe e t st p) bee very gen erally discarded in this cou n try. Certai n ly in o rga n s o f m o derate z h o n o m n a c an b e d n d h b ut in Si e, w ere ec y is esse ti l, it well ispe se wit ; larger i n stru m en ts a Qui n t Of du ly s u b o rdinate to n e is by n o m ean s to be

d. L the f h on du to o on o f o n o n u n despise ike Twel t , it c ces c hesi t e, c stit ti g

n f the ha m on u u o f the o an . I n too m an n an a po rtio o r ic str ct re rg y i st ces, r h the u n has b n bad v o d u ha n n ev e t eless, Q i t ee ly ice , with the res lt t t i stead n a b e n e ﬁc e n t m o f n n u n on n al on of exercisi g lli yi g i ﬂ e ce the ge er t e, it has “ ” n h m given rise to a thick an d m u ddy eff ect . I sc e es where dou b t is

’ ab o f the in u n f a n . n ta n d as to ad l o o u , a uin tatci n e ter i e the vis ility c si Q i t Q , n in m an n an b e foun d to fo m a d ab c o m 16 ft. (a ) will y i st ces r esir le F f h- ou n d n m u a o n an S o u d as a n a u b e pro m ise . i t s i g t ti r ks h l , ge er l r le, of u n o b strusiv e an d a du on as f as o ib f om quiet, r ther ll t e, ree p ss le r n is b m ad of D or o . u n o harm o n ics The Q i t the , est e lce st pped pipes . me n an n o an d n a G m o n u n of u on b In s o i st ces, twithst i g , e sh r Q i t q iet t e is y [ 2 2 D ICTION AR O F ORGAN Y STOPS . n m a n n M x u f u n o e s i effective . i t res req e tly co m prise a Quin t ra n k i n the i n u o o o f o m a . For P da u n A o srt BAS S pper p rt s their c p ss e l Q i t see c u c . Q u i n t C o u ple r

I n the o n o B - a at . n n h ad i r rg St J h , irke e , n which M . Ho pe Jo n es ﬁrs t d v o d his m b o n on a d a a n d an w e el pe e ry ic t l i e s electrica l appli ces, as in serted a Man u al Qu in t Co upler by m ea n s o f which the Swell orga n co u ld b e c o u d to a n m an u al at the h o f a f abo u n i o n u n ple y pitc ﬁ th ve s ( q i t) . u di io u m o d the u n o u was n n in h J c sly e pl ye , Q i t C pler i strum e tal t e pro ductio n o f m a n u o u a n d b n o m a n d a n ff H tahlh h f y c ri s y e s isple si g e ects . err S u t , o l Aix-la- ha has a x m n h n the C pelle, s o e peri e ted wit the Qu i n t Co upler. O p eda l o rg a n a Qu i n t Cou pler has frequ en tly been em ployed fo r the

o du io n o f m o 2 ft. ff ACO USTI B A pr ct ck 3 e ects (see C SS) . — f o n . Q u i n ta IO pho n 3 z t. t e The n a m e applied to a three-ran k Acou stic Bass sto p at Notre D a m e M n C a h d a o n a a a a . t e r l, tre l, (C s v t)

— f - F i Q u in tﬂ é te A Quin t o light to n ed lu te p pes . — u i n t t a n u in ad n a . I n m d a a a o n a io u Q a Q t e e i ev l speciﬁc ti s, v r sly

- - u n a n uin tade n u n a e d u n a u in tite n e n s. A 0 v a n Q i t te , Q , Q i t , Q st p ryi g a s m uch i n to n e an d co n stru ctio n as i n the s uppo sed derivatio n o f Allihn of O in io n ha m a b e d d f o m th its n am es . is p t t it y erive r e

a La in uin tade n are Fr. u intadin e r . O h a dv an l te t , Q , ( Q ) t ers ce

u in am n n ho din the f h Lat. u in a e d ( Lat. ) Q t Te e s l g fi t ( ) Q t (e t) ' = u n a f h an d u n i o n . La t. u in a a o n o f h f o m the o n fi t s ( ) Q t t fi t r t e. P o b ab a ll h d a o n a re o r n n di n n am r ly t ese eriv ti s c rrect, rep ese ti g sti ct es . h u in n i a o d d n f a u o f hi h T e Q tato s st ppe pipe, the isti ctive e t re w c is the f h o r o av f h o m n n v tha t its first harm on ic ( twel t ct e fi t ) is pr i e tly de elo ped. h has the f o f akin two a a n o m u an o u T he pipe t u s e ect spe g sep r te tes si lt e sly. i h r f b n d d an d the a a e ar so a u m Al be t t ey a e so per ectly le e , ver ge is cc sto ed to syn the sing harm o n ics with the fu n dam en tal as co n stitu ti n g o n e si n g le m u i a n o a m a n o a re u n ab at h a n to d n u h s c l te , th t y pe ple le, first e ri g , isti g is h o n o f to b e u nab to o a h two n o tes . So m e wo rt y pers s pr ess le t ler te t e «Q u in taton becau se it i n cessan tly giv es rise to a successio n of co n secu tive

' r m a ?the ob o n a h m a for all k fifths . P z a f n jecti is r t er chi eric l, pipes spea a f h o d a n d n - o n d m c o n secu ti v e fifths ( f , twel t s) , st ppe stri g t e pipes o re d i n o m b n a i o n the u n aron h n braz en ly than o thers . U se c i t , Q i t , w e viewed o m h a an d o n th e am foo n as the a n Ge d f r t is spect, st s precisely s e ti g pl i eckt w d n d d th e u f x d b n the m od n o r Gam b a. Ho wi e i ee is g l fi e etwee er a cadem ica l m i n d an d the prim itiv e org a n u m o f o ur fo refa thers ! N o r is n n u W the u se o f this sto p for so lo pu rpo ses o pe to a y serio s o bjecti on . e m u in o n o f fa adm the a di in on b n the o n u i st, p i t ct, it vit l st cti etwee c sec t ve a s rodu ce d rom on e i e an d ho e m an a n fifths o f th e harm on ic series p f p p , t se ti g r vo or o h o n n a n a n h h f ro m two o m ore pipes, ices t er t e ge er ti g ge ts , eac wit

1 2 DICTIONAR O F R A 4 Y O G N STOPS . difﬁcu lty i n vo icin g the sto p is to prev en t u n du e predo m i n a n ce o f Me twel th are n a o f o n i n ha f l d m a d a e . The pipes ge er ly sp tte et l, cyli ric l s p

b a o f the 1 6 ft. a n d om m o f the 8 ft. uin ta ton o f ood The ss s eti es Q is w . m o u h are f lo w an d th e o ar o d E x i n The t s le t very , st ppers e s li . cept the a f h H o e n s h e n o t e o e a t ar n a b a d . 2 f . c se p J v riety, pipes e g e er lly e r ed I 3 t the u in taton o a on a fo u n d n m an ua nd n pitch, Q is cc si lly o the l, exte i g to n o r m d I o h m i te r o id le C . t is pr bab ly t e o st sat sfa cto ry m a n u a l sto p o f

a i h . Lo n do n O an ho ol Po r an o Fo r d th t p tc rg Sc ( sitive O g C ) . pe al f u n a e n 2 t. Ac o srrc Ba s . Q i t t 3 , see u s As a m an u a l dou ble the Q u in taton 16 ft. is in ﬁn itely su perio r to

u o m a B ou don . If o ib the doub o u d a the c st ry r p ss le, Swell le sh l cert in ly b e o m o d o f o n BO R D ON U . It f u n l a n ho w c p se pe pipes (see ) req e t y h ppe s, ha fo r a o n o f - on o m —a o f fun d and a —o n ever, t t re s s ec y like s sp ce pe pipes, an d n a d z o f l b o x n ar t a o m m the i cre se si e the swel ecess y o their cc o da tio n ,

‘ are u d o u t o f o u . In u h n an the u in tatdn u n do u b r le c rt s c i st ces, Q is tedly the m o ff v o to m o a d d o as a m an u do u st e ecti e st p e pl y, reg r e s lely al b le. It

o n o m o ha n a B o u do n an d o v id ha a a in ff c sts re t r , pr es w t is pr ctic lly, e ect, f n in P n a as th v n f h a so t to ed Qu t. ro portio tely e o erto es o t e B ou rdon “ b m o m n n s o n du d h b b n d n a n ti m r eco e pr i e t, o is the st p e e wit etter le i g d b e a in o so aff d b the crescen do— ad cre t g pr perty, is it ecte y Swell ever re y to N t n in ﬂue n ce sto ps o f am ple harm o n ic dev elopm en t . o o ly do es the

ui n ta ton in o m b in a on m a to th e o n a u a a n u a n Q c ti , i p rt t e pec li r cle r ess, piq cy h o n b a o o n u a n e w n - o ou n u m n a i a nd co esi , u t it ls c stit tes t o e c l r i str e t l n th e n f ff a n d av ai a fo r o u produ ctio o special e ects , l b le likewise so l se . The

in h h the B ou do n h a s the adv an a in the fa o n ly respect w ic r t g e, lies ct tha t the Q u in taton do es n ot len d itself to u se as a so ft sto p b o rro wed o n to the ho v wh the a o an l a n . h n o a o n G B o u Peda o rg T ere is re s , we er, y re t rg rdo n n h a It hou d b n o m an h shou ld n o t b e u tiliz ed i t is c pacity. s l y e s e to o h f m n A fam i o f in po werfu l fo r n o rm al u se wit so t co b i atio n s . ly Q u taton s

ft an d ft. h o u d m o ff ua b i h n u f 1 6 ft. 8 . o , 4 pitc , w l re e ect lly r g te p the

n n u m n han m a n an of M x u - gen eral to n e o f a i str e t t y r ks i t re work . On e o f m od n o n a d i n the b u d n u o f b i an of the secrets er t l es g , is il i g p rill cy an n f i n ad o f b the a a on o f a n u m b with }: the o rg to e itsel , ste y pplic ti er o f a n k h are so to ak x an o u to th e n a Mixtu re r s, w ich , spe , e tr e s g e er l ton al The u in tatdn ft o m m e fo u n d as th e o n o av schem e. Q 4 . is s eti s ly ct e stop - The n on the Swell i n H o pe Jon es o rg an s . practice has b ee ado pted in a

d d b Mr. o m o n o f N o n a m Em m an u hu h m odiﬁe eg ree y C pt tti gh ( el C rc , f Wh n a h a o d No n ham . . F. u Leicester ; U M. Ch rc , St ple r , tti g ) e pplied to i n for f a o m a n m n m a hu b e m o o rg an s des g ed ree cc p i e t, it y t s e pl yed

v n to b n u the d on . In the o d n a effecti ely, servi g righte p ree t e r i ry m n a n um n h o v ha ha the a cco m pa n i e t l i str e t , we er, it is per ps well t t 4 ft,

n h ou d n ot be u d u n u bdu d in o n or o Q uin tato s l se , less very s e t e c vered by so m e 2 ft. sto p . 1 2 DICTION AR Y O F O RGAN STOPS . 5

R .

R — a n ke t o dun . 8 ft. G o Ran e 16 ft. S r ; r ss k t,

A va riety of Chalu m eau u sed at a v ery early da te . The s ca d at th t a f w m a ho b n o n d pipe were ppe e op, e s ll les ei g pe e i n th e id S i —o n e s e. o m etim es the Ran ket was a do ub le p pe

b in n d of an d o n n in o an o h . A m a pipe e g i si e , pe i g t , t er si il r de v ice has recen tly b een em plo yed fo r a cham b er o rga n Vo x u n d the H m an a . The effect of this trea tm en t was to re er ‘ “ ” n h is to e o f the R an ket sm o thered an d b o ttled u p. T ere

' o ften a ten den cy to ward a sim ilar e fl e c t i n mo dern ca pped ho u s u t n h w o ld d a are c r reeds. It is cu ri o s o o te o i e s uv na d Th R an n h a d d h v n rej e te . e ket a d o t er c ppe ree s wit e ts ’ c u t in th i r i n u o Ye t e s de a e m en tion ed Praetori s w rk , n o twithsta n di n g the fact tha t capped reeds hav e co n sisten tly u d in G m an an n o n e firm o f fig re er y d elsewhere, ever si ce, an u in ~1 8 a u a at n d th o of a n o rg b ilders, 8 5, ct lly p e te e pr cess c ppi g pipes to keep o u t the du st an d i n crea se the m ello wn ess of th e so u n d

R AU S H I N T R au sc h u art Rau sc hflote Ra u h C Q U q e , , sc f R au h r R a h n t f i u a . . u o p e e, sc werk, Q rte ( Ge ) sc e

ru stle o r ru sh . n n h h A Twelfth a d Fi ftee t com b i n ed on o n e slide . Ot er

o m o i o n hav b n n o n v iz . 2 ft. a n d 1 ft. an d III o r c p s ti s e ee k w , , % ,

IV an b u t the m o au h n d n i o n as ab . h r ks, st t e tic eﬁ ti is o ve T e n a a a in th e two an is a fo u h h n th Ran ke i terv l sep r t g r ks rt , e ce e n a m e t a i h h o f im a n a n a Qu rte. A sl g t stretc gi tio c u ses the sto p to “ ” m u n ff h n h x w s f m a a u a t e Rau h . a ss e r stli g e ect, w e ce preﬁ , sc It or erly co m m o n cu sto m o f Co n tin en tal an d E n glish b u ilders to u n ite th e two B u m im h h n sto ps o n o n e slide. t so et es t e t i n whistli g effect of the Grea t to th F f n h w ho u the b l - h o n b u p e i tee t , it t e l like co esi which shou ld e

im a d b the f h u d. O a io n a a o a f h o f p rte y Twel t , is req ire cc s lly, ls , Twel t , u a ha a c an ff b m o h u n i n s it b le c r cter, e ectively e e pl yed wit o t ecessar ly b ei g o a d h the Fif n h H AR MON IC TOPP ED WELFTH The ass ci te wit tee t (see S T ) . a o d n ar n ow n a n o b two sto ps, cc r i g ly, e ge er lly co tr lled y separa te sliders . — Re c o rde r 4 ft.

Th n u m n o f h n am was o f the F u b Th n a m e i str e t t is e l te tri e . e e is

a d to b d d f o m a n o b o m an n o f the v b to o v iz . to s i e erive r s lete e i g er rec rd, , ’ Dallam s a on of an o an d in Y Min i n wa rb le . speciﬁc ti rg erecte o rk ster “ 1 2 on ain the fo o n a a : I m o n e o d u n n to th 63 c t s ll wi g p ss ge te , rec r er iso e ” sa n a ]. . . It was obab an o n a F u id pri cip l vi li pr ly rdi ry l te . 1 2 6 D I TI N AR o r R AN C O Y O G srops .

R — r - or e R e . u n n m m n o n u o e d eedwork . (G ) Z g e sti e T g e st ps) ,

Ro h A a Ge r. hn a R d Fr. ux rwerk, ( rch ic ) Sc rrwerk ee s ( ) Je ’

dAn c he s .

A o v n am f r a a o f o the on of h h o duc d c llecti e e o cl ss st ps, t e w ic is pr e i n a d ff In th on i eren t m an n er to that o f ﬂ ue pipes . e reed pipe the t e is gen era ted by a m etal to ng ue or v ibra to r beating again st o r thro ugh a f a m n l zke h o n o n a o r Fr. a o a a o . r ew rk k w s the reed ( ) éch l te, g s ll t This ha o a b a n i n e s ll t is r ss tu b e with a co s derab le po rtio n of o side c u t a way, n n th n Wh n prese ti g e appearance o f a reed or stalk split do w . e this

— Fi . B O e n — g p Fig . C Clo se d h S a lo . S ha — l t llo t. Fi . A Be a in g t g Re e d. o n in x n d the o n h o f the ha o pe g e te s wh le le gt s ll t, the latter is kn o wn a s “ “ ” o n h n o n a o on h o f as pe , w e ly p rti t ere , clo sed. Open shallo ts are n o t

1 R OF R AN T P 2 8 DICTIONA Y O G S O S.

In m n o a n ll o f o id m a o n s an top. a y rg s a sorts s l tter is c t tly in drawn by the b ello ws feeders an d then ce circula ted throu gh m n It u d b e u the i n tern al system o f the i n stru e t. wo l q ite worth ado pti n g this o bstru ctiv e g au z e system in the i n terio r o f the o rgan in ca ses where it is i m po ssib le to plan t the b ello ws wo rk at an altitude su fﬁcien tly f m th n t rem o te ro e g rou n d. I o rder o du h n h a are n a u d re ce t eir le gt , l rg e pipes g e er lly c rve o u n d in h o a i n th e fo m of an o n a d r t eir, l wer p rt, r el g te oo o m h a t l p, s ew at si m il rly o so m e o rch estra l b rass “ ” n u m n o n i r i i str e ts . This pr cess is k o wn a s m t e n g the f om th f h a th pipe, r e act t t e latter is cau sed to * a um u h f f a m ss e r dely t e orm o itre. I t is frequ en tly a d ha m itre i n m o v the o n f d s i t t g i pr es t e o ree pipes . It is n ot u n likely that it had the effect o f su b du ing s o m ethin g o f the harshn ess o f the old-fashion ed type o f reed b ut it can n o t with a n y sem b la n ce of b e a d to m ov the m o n d n or verity s i i pr e der ree ,

h o b a a b to . Th yet, w eit, ppreci ly deteriorate it e bass o f do u ble reeds is frequ en tly m ade o f half B din o f a fu a m n the length pipes . y t c re l tre t e t effect m ay b e ren dered qu ite satisfactory in the Th a case o f en clo sed reeds . e pr ctice is n ot one a to b e o m m n d d as the n i s a to gen er lly c e e , to e pt

b e harsh a n d rou gh . d are u n d b a o o o f h h o n Ree s t e y wire cr k , w ic e n a b to the u n in n f o u d f o m e d, ccessi le t g k i e, pr tr es r h b a n h n B the b oo t a n d the o t er e rs o t e to g u e . y m ov in g this in an u pwa rd o r do wn ward direction the arc Of gyra tio n of the ton g u e can b e exten ded

a d h a n d o r ha n d. The or cu rt ile , the pitc ﬂ tte e s rpe e

h - ﬁtti n o f o o a si ne ua n on d tig t g these cr ks is q , wi e

spread n eglect ou this po i n t bei ng a fru itfu l so u rce .

n b o f i h o f in d dua d Of th e i sta ility p tc ivi l ree pipes, n n o u n d Th which is so frequ e tly e c tere . e secret o f su ccessfu l reed vo ici ng co n sists in im partin g to the to n gu e su ch a degree o f cu rv a tu re as shall cau se it l down ra ttl e r tha n s trike a a i nst th e hal to rol g s lot, r m a b a a n n u m a b uff h h D o , y e, g i st the p e tic er w ic is Fig . ” Ho ode d in h a co m m o n ly su pposed to terv en e. S ould ﬂat

Re e d. o ccu r in the reed by rea s o n o f an i m perfect cu rve

d is so m e im e s use d s n on m ous wi h hoo di The wor t y y ly t ng . 1 2 D ICTIONAR Y OF ORGAN STOPS . 9 or a of du st lodge between the shallo t an d to ng ue the to n e will b e n d d ha h a n a n It o n the stoic hio re ere rs d bla t t . — is precise m etrical cu rve o f the to n u e the distrib u — g tion o f ela sticity that the n atu re o f the to n e a n l rgely depe ds . This m etho d of vo ici n g was essen tially F n h i It was d v o d b re c n o rig in . e el pe y av a e- o ho o a h d a z n h C ill C ll, w se w rk re c e e it o f perfection in the vo ici ng o f o rchestral so lo was W h v who on h d . It o ree s illis, we er, t ese fo u n datio n s reared the v ast ediﬁce o f m odern ho u v i n H e was the to c r s reed o ci g . ﬁrst system atica lly em ploy sm a ll weights screwed * h o o n to the e n d o f the to ng u e . By t is pr cess “ o f oad n as a d the o n u a re l i g , it is c lle , t g es ren dered heav ier a n d c a n therefo re b e redu ced

Th ff f n na a n d len gth . e ill e ects o i ter l r i n a l v a io n n v i a b in the a O f to t o ibr t , i e t le c se

n o n u Ca n hu b e ud d. The b lo g t g es , t s el e est

' resu lts are to b e o b ta i n ed o n ly fro m to ng u es fashio n ed o f thick ha rd b ra ss o r si m ila r o n u ar o o n a u v d o r a llo y. T g es e ccasi lly c r e “ u n h d b m a hin hi h fﬁ n b r is e y c ery, g e cie cy a n d co n siderab le eco n o m y o f tim e bei ng R ho u d n secu red b y this m ean s . eeds s l ever b e b o n i h the m o u h as m o u c o n l w w t t , ist re den ses o n the to n gu es a n d ev en tually i m pairs h i u a o f o n b N o r a a n t e r q lity t e y , g i , sho u ld the to n g u es ever b e ha n dled o r twisted

The y had pre v io us ly b e e n e ssaye d i n the c as e o f h a m o n iu m e e ds a nd Ge m an b ui de s had oc casio n r r , r l r a lly ru n l u m ps o f so lde r o n to the e n d o f l arg e pe da l B ut as a b o v e sta e d Willis wa s the re e d to n g ue s . , t , Mo r o v r whi s h s m a iz he i u s . e e e e ﬁrst to syste t e t r e , l t t we ights we re o rig in ally e m ploye d fo r the purpo se o f the slu ishne s s o f s e e c h of a e re e ds re m e dying gg p l rg , t i u se to se c ure i n addition Willis so ug ht b y he r , , f g re ate r re ﬁn e m e n t o to n e . 1“ The write r o nc e ha ppe ne d ac ro ss the c ase o f a n r a n the re e d o n ue s o f hic h had c o o de d in a o g , t g w rr r Af e m uch f ui s ra ki n m ost m yste rio us m a n n e . t r r tle s c g o f b rai n s i t was disc o v e re d tha t the m isch ie f was due to the fum e s o f a g as e ng in e e m plo ye d to o pe ra te En i ne s o f his o the b lo win g a ppa ratus . g t s rt should

a lways b e iso la te d fro m the b e llo ws . 1 0 D I T I AR 3 C ON Y O F ORGAN STO PS .

ab ou in an wa b am a u u n n d d h a re n a abl o f fu r t y y y te rs, less , i ee , t ey i c p e rthe d eterio ra tio n . “ In the tree-reed the to n g u e passes right thro u g h the shallo t as in th H - e a rm o n i u m o r Am erican su ctio n o rg an . A free reed is illu stra ted “ ” u n d a n . It b e n ha h a b d a o n h h the er Cl ri et will see t t t ere is ri g e, l g w ic u n n v t i g blo ck passes . Th e o icer h as o bvio u sly little co n tro l o v er the

o n u the u a o f o n b n m a n m n th h o f the t g e, q lity t e ei g i ly deter i ed b y e s a pe r h m i pipe o reso n ato r . Thu s it appen s that all free reeds b ear a stro n g fa ly m b a n to a h o h an d to th H a m o n u m E x b in rese l ce e c t er e r i . cept po ssi ly the a o f sm a - a d o h a o the o n o f f d n ot c se very ll sc le rc estr l st ps, t e ree ree s is

u u a a a b u n in u n o f n a n a u a . s lly gree le, less b ildi g s res o t co stic l pro perties The o bjectio n ab le h arshn ess o f to n e o f H a rm on iu m s an d free reeds d g enera lly is du e to th e excessive dev elo pm en t Of harm o n ics . Free ree s fo m x n v m o d in G m an b u t are n ow fa fa n were r erly e te si ely e pl ye er y, st lli g

n o d u u d . On a n i n the E n l h m o d o f a n in d i t es et e le r g g is e tre ti g strik g ree s, h u z th m in n G m a n v o a t o n aba n do n d the u se o f f Sc l e, e e e t er icer, ce e ree I R d hav b n m a h u reeds (see a lso C O R AN GLA S ) . ee s e ee de wit do b le

n u D OU B LE -TON GU ED R E ED h the on u b a i n o n the to g es (see ) , wit t g e e t g i o f the h a o R E TRE ATI N G R E ED h th e ha o a in in in s de s ll t (see ) , wit s ll t t per g o n as a b o v n o i d h o o d n o n u an d ha o a rev erse directi ( e t ce ) , wit w e t g es s ll ts, u v at th e e n d th e on u in F a n i h tw with shallo ts c r ed like t g e, r ce w t o

in f o m the ha o to th e an d h v a o u O th n o ch an n els lead g r s ll t pipe, wit ri s er vel

o f h a a re n o wi n m a u se . fea t u res . N o n e t ese v rieties syste tic

n a a n d o m F n h a n d E n i h b u d Germ a n b u ilders ge er lly, s e re c gl s il ers,

h h n a h . L a n i n m o a hi cov er their shallo ts wit t i le t er ike c ppi g st c ses, t s is, ho u d a n a m to u m o o h n o f o n b a s regards c r s ree s, tte pt sec re s t ess t e y if m a n n ad o f b th e a fo a d n ho u h m erely m akesh t e s i ste y res i scie tiﬁc, t g

o f u v in the o n u . N d to sa the u a o f ardu o u s pro cess, c r g t g e ee less y, q lity u n f om u h ffo a k all n n b au b n to n e u su a lly res lti g r s c e rts l c s i tri sic e ty, ei g * - n m n Wi u o u i n u do re ﬁn e m e n t a d o o h . who m erely n a se s its pse s t ess llis, m d h a o f a h n d has o n u stro n gly co n de n e t is pr ctice le t eri g ree s, c cl sively

is n o t n a to m o o h n o f o n . An d a in dem o n strated tha t it esse ti l s t ess t e cert ly,

- u b a o n o a h h o b ab m sto ps o f the H o pe J o n es T S r type, w ic pr ly ark the

ad an i n th e d c o n o f m o o hn O f o n e t a ain d are g rea test v ce ire ti s t ess t e y tt e , v h it b e a d i n x n u a on ha the u se o f n o t lea th ered. Ne ert eless , let s i e te ti t t m b n d h a f n u a u o f th e o n u leathered reeds , co i e wit re lly e ﬁcie t c rv t re t g e, is

n so n d f n b a s ha o f a d ho u n o tpe r se b y a n y m ea s i e e si le t t c ppe c r s reeds . The in flu en ce o f therm a l v a riatio n o n o rg a n pipes fo rm s an i n teresting — a u d m o ov o f v a a im o . If th e i h o f the stu dy st y, re er, ery pr ctic l p rt p tc

fac t tha as th e l e ath e ri n is n o t usu all c on in u e d hrou ho u t t Add to this th e , t , g y t t g he the r d a n d u n l m a ss th e re is a n a s b re a k i n o n e b e we e n the l e a e e a the re d o rtio ns c o p , ty t t p , a c ise d m e rits b u t ro c e ss a s c o m m o n r sca n shrift. an d i t will b e se e n that the p , ly p t , t

1 2 IO NA F R N 3 D ICT RY O O GA S TOPS .

— The da e Re g a l The Reg al was o rigi n ally a keyb o ard reed in stru m ent. t o f n v n n o n the han the o n o f its n a m is its i e tio , n e less t rigi e, m f to the X IVth or X Vth n u o to Ob scu re . So e re er it ce t ry, thers, th e X II th b u t th ere is little eviden ce to s u ppo rt the view that this i la st n a m ed da te is n o t ﬁctit o u s .

n u a n It is The deriv a tio n o f the n a m e is still a puz z le to a tiq ari s . probab ly i n spired by the fact that the i n stru m en t was ex ten sively u sed in a h w s an I a ian n um n n am d R ab o roy l pro cessio n s . T ere a t l i str e t e ig ell ,

f o m hi h Dr R im b ault u m han d d the t . He o m d r w c . tri p tly erive itle itte , ho all n u n o o n o f f n am h i n all ro wever, e q iry i t the rigi this resh e, w ich, p a i i n h bil ty leads u s ro u n d in a viciou s circle b ack ag ain to the sta rt n g po i t . O n e o f the earliest represen tati o n s o f a Regal o ccu rs in the fa m o u s series o f o o d u n n m , o as the u m h o f the E o Max m l an d a n w c ts k w Tri p per r i i i , r w b Ha n B urkm r n Th in um n h in n d are y s e ye i 1 51 6 . e str e ts t ere represe te

a P o i f o an a n d a R a m o u n d n a ca r i n the o o n . s ti rg eg l, te o pr cessi The

uriou Fo m s R a i C s r e g l P pes . D I TI N C O AR Y O F ORGAN STOP S . 1 33

R a d a h o n the b o th n n n an and two eg l ispl ys weig ts ell ws ( e first k o w i st ce ) , o f the Kn o f-R a to a h n o pipes p eg l type e c te . The i n stru m en t was chiefly em plo yed i n religio u s pro cessio n s fo r “ s u a n n o r n o u t th P R n e a n o n m o d . The al a d st i i g g ivi g l i s g el y eg , the po rta ble fl ue pipe o rgan s which pro b ably cam e i n to u se in the X IIth “ ” n u d h n am rt r in v t e o f P o a f Lat. P o a e to a ce t ry, recei e e rt ti ( , , c rry) ,

o n a di n io n to the a o an n o n as P o f Lat. P on e re c tr sti ct l rger pipe rg s k w siti ( , , to a o r ﬁx The R a was n t n u as a n an u n pl ce ) . eg l o i trod ced o rg reed til a fter the Cha lu m eau a ltho ugh it m ay reas o n ab ly b e su ppo sed tha t the d n io n in th o n was b u t h It wa s o f 8 ft a n d in a isti ct e t e slig t . l ter m ft a n f i a o o f 1 d t. h . The n n o n Of th o u f m ti es ls 6 . 4 p tc i ve ti e vari s o r s o f pipes em plo yed m u st have ta xed the i ng en u ity Of the m o st fertile

i m agin ativ e fa cu lties o f the day. I n tho se days the art o f reed vo icin g wa s a in as far as a d im a ha a a a was o n n d in a cert ly, reg r s it tive c r cter c p city c cer e ,

u d m n a a . Fo r the m o a h n th n am m a b r i e t ry st g e st p rt, t e , e es y e reg arded a s m fan a a o n the o in n o f h h do u b affo d ere cy ppell ti s , c i g w ic tless r ed sco pe fo r a m d a o n o n th a o f ho re o n sib le fo r h little il recre ti e p rt t se p t em . A f wo f the m o m o an a o f R a are a n e re i p rt t v rieties eg l ppe ded. I n additio n h i ha i n m o fan a i f m t to d o o b fo u n . t ese, p pes s pe st t st c r s were e d So m e m b d a h o h o m o o f u b o u n rese le l rg e s ells, t ers were c p sed t es w d ab o u t in

a ll directio n s .

P Curio us Fo rm s o f Re g a l ipe s . S 1 34 D ICTION AR Y O F O RGAN STOP .

- — - Ko f A f R r A f a . Ge r. pfe l Re g a l Ko p egal . (Ge . ) p el pple ( ) p h ead.

a - h a d h ad These pipes were su rm o u n ted by an pple s pe e , i ho the to o f a pierced with m u lt tudin o u s sm a ll les, like p d a d Th B f if . 7L a o o a o n a pepper po t. e arp e e (9 ) ls cc si lly ispl ye i th s pecu li a rity .

B - i b e l Re g a l Bib el Bib le .

On e fo m o f the n u m n so o n u d as to fo d u r i str e t, c str cte l p n o th The n a m a a to i t e shape an d fo rm o f a b ig B ible . e ppe rs have b een a pplied in o n e o r two i n stan ces to a n o rg an sto p

i h i n i n o a n o r han fo r th e a O f a o a o n . e t er g r ce, , perc ce, s ke ss ci ti

f - — - D m f n e r. a G e da m p t Re g a l Ge de m pft Reg al . (G ) p e to m o h m u f e En to dam as of s t er, ﬂe, stiﬂe . f ( g ) p ( i v bra tio n s of strin g s) .

o n u d as th e A f -R a o r o m o d o f in v d C str cte p el eg l , c p se erte n i co cal pipes o f v ery la rg e scale .

- in Ge ig e n Re g a I Geig e Vio l .

Wh n u d i n the u o a v h a u in ta to n th e e se pper ct es wit Q , - a i i h Geig en Reg l s sa d to av e resem b led the Violi n . See

- GESAN G R E GAL .

- — - n n r. G an Ge s a n g Re g a l Si g e d Regal . ( Ge ) es g n Si n gen d si gi n g .

r V x H m n t A v a o f o u an a . A R ega l of ea a l ile to n e . riety

f -R - AP CI e g al Geig e n -Rega l a n d Gesa n g Regal were i n serted by J u liu s Ma B an z e a s a An o n o at . as 1 8 . t i St ry, i e rly 5 5

- — 1 6 ft D o u b R a . G ro s s Re g a I . le eg l

- — n R a S ft. Ge r. H a f ha . I m i a d the h a Ha rfe e g l ( ) r e rp t te rp . h m n P Lu b o o . Mu lhau se ; St . eter, eck ; St ck l

- — VI I - R J u n g fe rn Re g a I See R G N EGAL.

’ - Im a h Ka l b e r Re g a I K a lb calf. it ted t e calf s lo wing !

- — f av R a . Kle in Re g a I 4 t. Oct e eg l

f- — — KOp Re g a l See AP FE L R E GAL .

Kn o pf-Re g a I K n o pf b u tto n o r k n o b

’ The pipes o f th is v a riety po sse se d heads sha pe d a s a Go thic b isho p s

m i tre.

1 6 D ICTION AR O F O RGAN ST P 3 Y O S .

Re tre ati n g Re e d A v a riety o f reed sto p experi m en ta lly trie d by

G m an b u d an d a o b Mr. H o o n s to er il ers, ls y pe J e , ' h a n d who m the ab ove nam e is due . I n t e retre ti g ree the tong u e is ﬁxed o n the i nn er side o f a fra m e c or n An x m e n a respondi g to the o rdin ary shallo t. e peri t l m odel was sho wn at a lec tu re delivered in Edin b urg h f u a n b e ore the In co rporated So ciety o f M sici s.

— V x RET A Re tus a See o US .

— I s An Ita an e m for Ripie ri o ( t ) choru . li t r x Mi tu re wo rk .

- — R R o h r B o r d u n See ROH FLOTE . — - h . F F u a R o h r ﬂ at e Ro r Gedeckt ( r. ) l te

En . m n F u . A C hem i n ée . ( g ) Chi ey l te ng lia

R h . f ﬂ e r. o d 8 t. a Rohr u te . (G ) r ree ; lso

2 ft. ft ft. a 16 . ; 4 ; r rely

‘ i nal R hrfl te was a m a The o r g i o O et l pipe, co vered th h a flat lid f om n o f h at e top wit , r the ce tre whic e m rose a narro w tu b e o r chim n ey . Th si ilarity of this tu be to a reed ( n o t o rgan reed) o ccasion ed the n am o f the o h n has n o o n n on e st p, w ich, the , c ecti h an o d r d n o f on as o m wit y supp se ee i ess t e, s e writers i Th o n f Rohrfldte r h have i mag n ed. e t e o the is b ig ter and h han ha of a n o less t ick t t t pipe e tirely st pped. AS m b the o ld En b u d S n e tz le r i n ade y glish il ers, a l fa h o n f n m a d him n p rticu ar, s i ed o thi et l with wi e c eys an d h l b o n the o d d a o n f u n lig t y l w , st p yiel e t e req e tly

o f the m ha m n a a . An o st c r i g ch r cter St drew, N n am Sn tz le r o an u b o n ac h r o tti gh ; e rg reb ilt y C e ) . The pipes were tu n ed by the highly u n satisfacto ry m ethod of sha di n g the m outh with lo n g ea rs (see

B ELL GAMBA . The u a d ho v ) pipe here ill str te , we er, a f o n ha n d a n displays e rs o rdi ary S pe, a slidi g ” o f r u n n o w-a- a th ca n ister t p o t i g pu rpo ses. N d ys, e m etal chim n eys are g en erally dispen sed with an d the R ohrﬂOt to all i n n an d u o d n a e is , te ts p rp ses, i e tic l The h m n with the pierced Lieblich Gedeckt . c i ey f m the o hand an d the o is o r ed by st pper le, st pper

f l n d h o d n o the . In itsel , i e wit c rk , is ﬁtte i t pipe Re tre atin g Re e d i r m a an d a d - this m an ner the p pes a e ore e sily r pi ly ( Hope J on e s) .

m ad an d m o a fa o u n d. o ld e, re s tis ct rily t e The D ICTIONARY O F O RGAN STOPS . 1 37

h m n s a s a n o o ff du n u n in c i ey , l o, were li b le to b e k cked ri g t g O a h i f o m a b ou per tio n s . T e sto ppers are u sually p erced r t n o u ar Ab o n o h ar m a d ou t o f a te r C pw ds . ve this te t ey e e in o f f h m n t th s g le piece wo od. I t e chi n eys be carried do w o e o n o the o n o f th a t o a u a o u h of l west te, t e e bass is p t cq ire t c th e u i n tat n u a i A a of Ro hrﬂOte o f a a Q o q l ty. v riety l rge sc le an d fu n h h w h m n was n o n in m an as r is ed wit ide c i eys, k w Ger y H ohlsc h ll Of a a the a o f th Ro hrﬂ o te e e (a n ) . l te ye rs sc le e h as b n m in i u h du d b o h h o u n a n d a b o a . In ee c re ce , t t s c try r d E n an d n d d it n ot n owm ad of fu a ho u h St gl , i ee , is e ll sc le, t g ill

o a io n a in m an . In th a o un a o do u cc s lly Ger y e l tter c try, ls , ble

m n kn Th F n h F - o u thed R o hrflOte s were n o t u o wn . e re c lute a Chem i n ée is a larg e-scaled Chim n ey Flu te of b rillia n t an d liquid to n e (see FLfi TE The in flu en ce o f the chim n ey o n the to n e o f ha lf-sto pped —as h f the R o hrfl Ote a are m d— n pipes t o se . o cl ss ter e prese ts Th h m a pro b lem o f grea t i n terest . e wider t e dia eter o f the h m n th m o o to ha o f an o n b e th e c i ey, e re cl se t t pe pipe will “ - - is rl a . D h n n n th N ov a A a de r Ka e . Le o . o u to e . I e ct p C r l e tsc e Aka dem ie de r N a tu rfo rscher o ccu rs a v ery in teresti n g article ’ R . e hrhardt. D r. e hrhardts in o n the R ohrflOte by D r. G G

i a tio n s m a b e u m ma iz d as fo o —If h o n an v e st g y s r e ll ws , wit c st t m th e h m n b e n h n d th e h a n dia eter, c i ey le gt e e , pitc ﬂ tte s ; w h d am be n a d the h b e a i if n o t e i eter i cre se , pitc will r sed ho u d the o b e inv d so ha the h m n again . S l st pper erte , t t c i ey n o th e the h i m a n u n a pro tru des i t pipe, pitc w ll re i ltered. The n o de of an o pen pipe is pra ctically equ iv alen t to the The R o hrﬂOte a ia sto pper o f a clo sed pipe . is p rt lly Open

an d a a o d an d Dr. Ge hrhardt fo u n d ha the p rti lly cl se , t t Ro hrﬂo te m the two i n te rc o m m u n i c ato r m vib ratio n s resu lti n g fro y spa ces (old fo r ) . gav e rise to i n ha rm o n ic u pper partials ov erto n es n o t ha m on i n o to n presen t i n the o rdin ary r c series) , lyi g cl ser ea ch o ther a d h a s z o f the h m n was n W n a . e i n crea sing in stre gt , the si e c i ey e l rg ed h fo a d the a n F u th d him n m ay t ere re reg r Cl ri et l te wi its wi e c ey, as o win g its pecu liar to n e in so m e m ea sure to the presen ce o f these If a i n -ho b e fo a d in h li o f a i n harm o n ic u pper pa rtials . p le per r te t e d “ ” - a the i o o ff its h n he a can ister to pped Ged ckt, pipe w ll g speec , si ce t r re Va ou u ia n facti o n at the to p ca n n o t take place . ri s pec l r eff ects c a b e f- o d The m m a ob tai n ed by experim en ting with hal st ppe pipes . chi n eys y r n h m a b e o du d in id as as b e a ltered i n width o le gt , they y pr ce s e well

an d so o n a d i n n . a o ON E GE D ACKT . ou tside the pipe, ﬁ (see ls C )

“ N o . 1 Vo l . II . , XX 1 8 DICTIO N AR O F O R GAN ST P 3 Y O S .

D o u b le R o hrflu te s with chim n eys to the lowest n o te are exceedingly ra n or n d d do a n m a a adv a n a a u f o m i n th e re , , i ee , es y teri l t ge ccr e r p erci g s f i h h o f h o o u h a . A o o u b t e o t e t ppers s c l rg e pipes st pped d le, w t st ppers

- M. i rr u n o o m im n a m d R o h B o du n . Dé b e pper tes pierced, is s et es e r r e , o f N an h o v m a a a o f o m a o an in h h he tes , we er, kes speci lity c p ct rg s , w ic w h a u ho ha in hi s pro du ces two o r three lo n o tes fro m o n e pipe . T e t r s

o o n o n e o f h P o h n P s m ad b M. D é bie rre . I t p ssessi t ese lyp o e i pe , e y wa s him hi f n r n th n d to b s d M . . . a a a e b a d prese te y rie , J C C s v t, cele r te n dia n a n u C a a o b d o f . H a n h u Th a d rg il er, St y ci t e, Q ebec . e pipe is clo se i h o n e h t e o in the u u a o io n a t th to . B u t o n the , w t st pper s l p sit e p d w f o n o f the x n d a an u a oo d n him n h the e n d r t pipe e te s rect g l r w e c ey, wit , r a hin d n t th n a o o e m ou h u n o d. h h m n O n o f e c g e rly w t , cl se T is c i ey pe s , in h o u o t e m a n i at th e to . I n are b o d two o i o n e c rse, t i p pe, p it re r ﬁces , h o n a d a t di a n a a . The aid ho ar o v b a e c si e, set st ces p rt s les e c ered y

c i u a a o r d a d o n the arm of a m o o b o . The o rc l r p llet isc, c rrie t r ell ws l west n o o f the i is ha n b th i h o h f h h te p pe t t g ive y e pipe w t b t o t ese o les clo sed. The n x n o a m i o n h h is o b a n d b adm in i nd to the e t te, se t e ig er, t i e y itt g w m h o o h u n o v the ho o n the d o f the him n . Th t r, w ic c ers le l west o si e c ey e hi h n o a m i on ha ha n the a is O b a n d b a dm in g est te, se t e s rper t l st, t i e y itt g n h d to t e o h m o o . h u to o b a n o n e o r o h o f the a na wi t er t r T s , t i t er lter tive n o o n n a m u a n o u h the adm i o n o f n d to tes , it is ly ecess ry, si lt e sly wit ssi wi the to a o to a n o a han n o n n h the i n io f pipe, ll w it p ss i t c el c ected wit ter r o

o n e o f the m o o . The i is o v d d i h a b a d i n the fo m f a t rs p pe pr i e w t e r , r o f n h i n th m u h R u n i m h d ad e o . as t do an m f the e er, s g t eq iri g , es, ec is o m ha a o n it i b e v id n ha i n h d v ha v a si plest c r cter ly, w ll e e t t t t is e ice we e f i ru tfu l s o u rce o f eco n o m y.

- — R HR FL TE R o h r G e d e c k t See O O .

- — R o h r Na s a t A Twelfth o f R o hrﬂOte pipes .

H H L H L h h b . R o h rs c he ll e Ro r reed ; Sc e lle ell See O SC EL E . — R o l l e r See B E A RD .

i n h n a AVICI N IU M. R o s s ig n o l ig t g le . See — Rus ti c This n a m e o ccu rs i n so m e o f the speciﬁca tio n s g iv en in ’ ’ H n im aults a B A E R P L o pki s an d R b tre tise . See U OTE .

S . — f S a c kb ut 3 2 t. 2 in h n T he n am e wa s a pplied to the 3 ft. reed t e o rg a at Yo rk Min ster H ho u h the d o o f ha i h to b e in ( ill, T g ﬁrst ree st p t t p tc trodu ced n o a n E n h o an it was n o t m o v d u n i th e n o n i t glis rg , re e t l rece t rec stru ctio n

-o f ha n u m n Wa The B b i a a b u was a a t t i str e t ( lker, i l c l S ck t v riety o f v n f a bu o h a o f i n a o n . The d a o o b u rp Or e t l rig i eri ti S ck t is sc re . Web ster

1 0 D ICTIONAR -OF OR GAN 4 Y STOPS.

o m n s nfu d n o . It n a m a f S m s e i tere t i se i t it is g e er lly de o potted etal.

W h a d to u on of o n th e a n a u m it reg r the q esti sl tti g S licio l, the c sto o f En h u g lis b ilders va ries m u ch . The m ajo rity slo t the Salicio nal a n d n ot

the D u a n a . But the a on a o f Mr. Le m a ha lci S lici ls wis, which y, per ps, b e

a d to n the d a are n o t u ua o d. At a n a th s i represe t i e l type, s lly sl tte y r te e aim of the o hou d b e to n d the o n but n h n v icer s l re er st p stri gy, eit er kee n o r h n o m b u o n u a o r y. S e ilders err eo sly cco rd the n am e to what is v ir tuall a f n The a o n a y so t Stri g Gam ba. S lici ls m ade within the past fe w a M n r r ye rs by essrs. Co ache a e virtu ally a very pleasan t type of Vio le i A n n h s n b n So u rd n e. tte tio a rece tly ee dra wn to a variety of Salicio n al h h wa s u o d to a o m ha as a uin tat n u m o w ic s pp se spe k s ew t Q d , tho gh co p sed f n au ho was i n fo m d ha n x m i o o pe pipes . The t r r e t t a e a ple of this v ar ety “ — ho u h an m f m n — x d at Lu an h u h t g i per ect speci e e iste the ther C rc ,

W l r n v i n h L m an E . a cke O in um n fo u n d ha e Street, ( ) . is ti g t is str e t he t t, h a in e n o f b ox th e a n a h a e rd th i teri r o the , S licio l spo ke t e o ct v e v ery d in o un d on b u t ha the l f was in n o wa r ist ctly with the gr t e, t t Twe th y p o m i l Th of a io n a n n o n to m an n e n t y dev elo ped. e type S lic l is either k w Ger ’ o a n b u d n or m n on d in Allih n s o . If x d at a ll the rg il ers, e ti e w rk it e iste , o av wa s u m ab n u d d an d the ff ou d o b b e ct e pres ly likewise i cl e , e ect w l p ssi ly k h f o o r o v b o n V o on h h o m im s n o t u n li e t a t o a badly v iced er l w i l e, w ic s et e Bu t h a d f a n a m r a perform s the sam e trick . t e s i species o S licio l ost p o b bly o n to om a h v a u a n d u o m a o f H a m wes its ge esis s e r t er g e p rp seless re rks el, h m n n th e a of o an on in the wh o, w ilst see i gly reviewi g cl sses rg t e strictly n a m an n a a to ou o h the uin a e n o rth o do x an d con ven tio l er, ppe rs gr p t get er Q t t A dou b -m u h d ali io n al an d the Salicion al u n der the sam e categ o ry. le o t e S c

n f th e o an at Lun d a h d a d n . Th o ccu rs in the speciﬁca tio o rg C t e r l, Swe e e

m an d a ho o an do u b . The ft. a on a Co n tra Sal icio nal fo r s i e l C ir rg le 4 S lici l,

n o n as a a in the o u n . It u ual fou n d o n gen erally k w S licet, is r re c try is s ly ' a h n the Ch o ir o rgan or in the Swell o f sm all in stru m en ts . St . K t eri e s ’ — W B a 8: n n . S ta le A L 8 ft. u n u a . Co n v en t, Q ee s Sq re, ( e le Thy e) ewis b n i in t in . in d am m ou . de specim en m easu red a CC 33 i eter, the th ei g s wi

n It was o d d h a b d . an d c u t u p i . pr vi e wit ri g e f S AN FT so t .

u F au o Am ab or L b F o S a n ftﬂ Ote Vienn a Fl te, l t ile, ie lich l te.

S a n ft e da c kt Still Gedackt . g — S AX O P H O N E 1 6 ft.

n u m n n am d af Sax nv n o Th A sto p im itative of the i str e t e ter , its i e t r. e

to d n . It a a of the a n B a oo n qua lity o f ton e is difﬁcu lt eﬁ e p rt kes Cl ri et, ss , ’ Mr. a on t h 1 n a me axo hon a d b o t e 6 ft. a n d Cello . The , S p e, is pplie y C ss

n o om a in his o an . It i a m d ha o an Clari n ets (te r C c p ss) rg s s cl i e t t rg ists, ub a in are a t to a for an d ha a n u n accu stom ed to the Do le Cl r et , p t ke gr te t t y

f m a n am a n of u n on . ha u m au stop b earin g the a ili r e Cl ri et is is pitch C l e , DI TION AR 1 1 C Y OF ORGAN S TOPS . 4 em plo yed as the wo rd is in o rchestral term in o logy to designate the lo wer c o m a f o a n o u d h o ia m . h p ss the Cl ri et, w l per a ps b e a m o re appr pr te ter T ere is ho a o n am d on a Fa o tto b u t in the u o o n o f , wever, st p e C tr g , pper p rti its o m a v o s n n axo ho n o d b Mr. ohn H . c p ss ery cl ely represe ti g the S p e, v ice y J

om o n at H u na a i m a u in s. o d N o . Th 1 6 ft. C pt , ck ll T rk r , tts e p pe e s res 4% h W V e a o a axo h o n o at H o n Ma b on . n n . T er is ls S p e st p ly Tri ity, ryle e, ( i ce t) I n to n e it rese m bles a Co r An glais with a tou ch of Tu ba quality (n ot power) dd a d. e See als o K E ROP HON E . — S c a r a ft. A a io n at a z b u p 4 Cl r S l rg . — ha m ha m . HAL MEA S c l e y Sc l ei See C U U .

S H A R F h " C S arp) . ( 1) A preﬁx sig n ifyin g o f sharp i n cisive o n 2 ha Mix u t e. ( ) S rp t re . r - — R S c ha f Re g a I See EGAL. ‘ c h a rﬂ l t —A F u of b h n v n S O e l te rig t i cisi e to e.

S c hla n e n ro h r h an n Ro h d o r u b g Sc l ge serpe t r ree t e .

r S c h n a rwe rk Schn a rren to g ra te o r rattle . An a ha m a n m a i n o i G d to d d o o v . rc ic er ter ppl e e te ree w rk, c llect ely To pfer hu m o ro u sly rem arks that reeds m ay b e div ided in to two classes Sch n a rrwerk an d N arrwe rk (t o m foo lery) ! Sch n arrwerk so m etim es desig n a ted a form of R egal .

x n n m S c ho n b eau tifu l . A preﬁ sy o y o u s with Lieb lich in z i c h n e de c kt S c hOn r al . S O g , p p

- Sc hre i e r fe ife h a . Ge r. h i n h k h o r S c h re ie r p , Sc ry ri ( ) Sc re e s rie , screec

- A h h h d am n m x u . F u n a scream . ig pitc e scre i g i t re o rt tely obso lete . ho u h the hu b e o n the n l n h m a n i n the T g sk ﬂ w , ker e , evert eless, re i s o r a h a o f n i o f the III an in a a a u pri n ciple, r t er l ck pri c ple, r k screech g pp r t s , h u h h still a n arresti n g featu re o f too m an y E n glis o rgan s . S c sto ps s ou ld av ! to b e u d h a ! At th e B arfu sskirc he E fu b e lab elled C e se wit c re , r rt, - Ma d b u u ha on d S illﬂOte . At . U h o d the sto p was a s rp t e p St lric , g e rg, cc rre

K n m a . a Kle in sc hre ie r (Ge r. lei s ll)

— Mu n f m An o a f h . . Lam b o 1 ft. S c h ufﬂ e t % ct ve Twel t St ert, ster ( r er

n D v a o n u n n o n . o rga ) . eri ti k w h n Ge r. b n to r S C H W E B U N G Trem u la t . ( ) Sc we e soar o

ho ver. — . ft. . f a n f 2 1 ft. S c hwe iz e rﬂo te Sc hwe iz e rpfe ife 8 t o cc si o ally 4 t.

h iz z an d. (Ge r. ) Sc we Swit erl

m Vi n n a F u has n o h o a b a . h z The n a e, like e l te, ist ric l sis The Sc wei er h m n a m ﬂote wo u ld seem o rigi n a lly to have co rrespon ded to t e Ger a G ba . La the n a m was Lo cher m en tio n s a specim en at Magdeb u rg Cathedral . ter e

- a pplied to a sm all sca led b earded Gam b a o f very keen pen etratin g to n e . [ 2 R 4 D ICTION A Y OF O R GAN STOP S .

‘ — Ma h Mr. S c hwie e l Sc hwie e l fe ife S c hwa e l Sta m m e n tin fe ife . g g p , g , p tt ews

d the n am f o m a n o ld G m a n o d Su e ala . erives e r er w r , g pipe a m m m Stam m e n tin is pro b ab ly derived fro m ( Ge r. ) S t ste

(su ggested by the pecu lia r sh ape of the See S P i LLP LOTE.

‘ f . a ft. 8 t 4 ft. ; ﬂ B ut The Schwiegel was practically iden tical with the Spill Ote . S c hlim b ac h d b it as a F u o o f the a o f the u f f a n d escri es l te st p, sc le Q erp ei e,

o d the B au e rﬂOte . Ad u n an d TO fe r ho u o v ice like l g p , wever, s pp rt the o h n i t er deﬁ it o n . A speci m en o f the Schwiegel existed u n til qu ite recen tly at th K u z h r n e D d n a e m a n . re kirc e, res e (J g )

e a n n h . S pt de c im a seve tee t Tierce .

- n h . F WE N T FIR ST S e p ti m e Septim u s seve t See LAT T Y .

— P H S H R e ra h n Fo r d va o n S ER AP H ON . Y A MON IKA. S p i e eri ti , see See — — S E R A P H O N R E G I S TE R The wo rd Sera ph is g en erally derived f m H w h o b a a to b u n . I t has f n o he B r e re , S r p r re ere ce t t iblica l “ ” / a m n an . r m o . ﬂ i g gels (G . ) pr !1 v ice

' The n a m e em ployed to den o m i n ate a class o f sto ps o f n o v el co n stru e W f h ar tio n i n v e n ted by Herr eig le o Stu ttgart . T ey e described u n der

r ho n ﬂOt 8 f . u d b H W P P E LFLOTE . A Se a e t o u t D O p , s pplie y err eig le, cc rs a

S b aldu skirc he Nii rn b e r b o f ha i . St . e , g (Stre el, t t c ty)

— M n W l A do u b B a H o n . 1 6 ft. Ulm u a c ke r S e rpe n t le sset r ster ( , i m a n n i im o ro c ﬁsso o o s o . Sa n c t ss C , C ( Serpe ti ) Th e i n stru m en t o f th e n a m e ( o bs o lete) po ssessed a cu rled wo o den tu b e

in n h . H n the n am . I n o d fu h to n ha n th ab ou t 8 ft. le g t e ce e r er rt er e ce e

m b a n the b od o f the n u m n wa s o m m v n d d i h rese l ce, y i str e t s eti es e e ecke w t

n a the add io n o f two v n to n d o m h gree sc les, it ﬁery eyes ser i g re er c plete t is m elo dra m a tic fa n ta sy.

— i in a S e s q u i a l t e r a Se squ ialtra . Or g lly a I I ra n k Mixtu re f h an T o r a u n o f d an . co m po sed Twel t ierce, (r rely) Q i t d Tierce The co m po n e n t ran ks o f the sto p were thu s sepa ra ted by the in terv a l ix h to h h fa th e d v a o n o f th e na m u d t o f a s t , w ic ct eri ti e is s ppo se o x h A an h u e . Lat. x u . o o n e of two b e d ( ) Se t s si t lter t er, ,

differen t . I n this co u n try the n a m e Sesqu ia ltera b eca m e a pplied to a I I I ran k in the b a 1 1 2 2 ab ov the u n o n wa u n d n . I t s Mi xtu re so i g , ss, 7, 9, e is

ix f I V r V an na m n a lso u sed to desig n a te M tu res o o r ks . The e is falli g MI T R E u U . in to desu et de . See X

S e x te Sextu s sixth. w - a n k M x u o m o d o f a f h or o n n A t o r i t re, c p se Twel t Tierce o e slider. n k ha o f a x h The i n terva l between the two ra s is t t si t .

1 44 D ICTIO N ARY O F ORGAN STOPS .

ta rk A x . S stro n g . preﬁ

- — S ta rk Ge da c kt A Gedeckt o f la rge scale an d po werfu l in to n a tion .

’ n n w s in G n d t e t r h Ere rw . o a S o p o n v p Ste t r , reek lege , a h a d b fo o h v o a din to H o m was as er l e re Tr y, w o se ice, ccor g er,

8 ft. ou d as the a a i f f wy v o . l ggreg te vo ce o ﬁ ty m e n . ¢ ﬁ ice ( 1 ) A very larg e-scaled Flu te u sed in Am erica an d G m an It m a f h o o d o r m a an d o m er y. is de o eit er w et l, s e im h o u m u h Th n is o fu an d t es wit d ble o t s . e to e very p wer l m fu ll . As to whether su ch to n es are artistic o r erely b latan t a n d v u lg a r depen ds en tirely o n their m o de of trea t

m n . If m ad o f th e bia P n a o of h a e t e Ti le style, st ps t is cl ss f m a v a u i n a o ab a u n a n . n n r l le dj ct to l rge o rg a s C ci ti, w U . S . A . Ho ok H a n o ia h u h N e Yo ( sti g s) ; C lleg te C rc , rk Od hu h o f ur La d o f P u a u o u Bo o n ( ell) C rc O y erpet l S cc r, st (H u tchi ngs Vo te y The S te n to rpho n has also b ee n u sed i n G m an b Vo o f D u a h in the a o a n in er y y it, rl c l rg e rg th e m a n n i 2 A al g iﬁce t con cert hall a t Ma n n he m ) . ( ) speci o n v n d a n d a n d b H a W o f E h st p i e te p te te y err C rl eigle, c ter

d n n n Th n h a f- w n a u a . u x i g e , e r St ttg rt e m o th e te ds l ay ro u d th i e a s i n the a o f o m t am h . The n a m p pe, c se s e s e w istles e Ste n to rpho n is u su ally reserv ed fo r the Diapaso n v a riety of Th the sto p . e o n ly exa m ple in this co u n try is in the large h m b o an b r H a u b M . o n a c he r fo r M . . c er rg ilt y essrs C G . H a a H u W It a n 8 in o a n . o rris, C stle se, C l e, ilts spe ks . in O h o are i m a b H W of w d. t er st ps likew se de y err eigle h this pa ttern . I n t e o rg a n b u ilt by him i n 1 8 95 for the Li d ha u a o u th e fo o n ﬂue o o n e er lle, St tt rt, cc r ll wi st ps , g g — in . n d o n u d a o d n t h n 9 wi , c str cte cc r i g o t is style z Ste to r

h - 8 ft. r kt 8 f . o n G o ss e de c t o o a m b a 8 ft. o o p , g , ; S l G , ; S l l te 8 ft - F O . da S u b b a 1 6 ft. Th e t n to r ho n , ( pe l) ss , S e p , h n d a on o f d f iv h a n d a t to o v w e teste l e, is e ect e speec p er h b a l o n b o t e s o t v o fu . I i n l w tre le, , is ery p wer l t s co sider

ab m o ff v a n d a b i n o m b n a n ly re e ecti e, spe ks etter c i tio . h m a u Th G d h a u a 8 in . i n e e eckt, w ic e s res ct lly dia m eter

at 8 ft. o n is of fu u d o n a n d i n n o wa CC ( t e) , ll liq i t e, y

- o b io n ab . The da Su b b a is a o fu h ject le pe l ss p wer l , weig ty h am a All a T e G b n o t o o d. a a h sto p . is g ppe r r t er win dy t h a The fu o an v b ian to a listen er clo se o t e o rg n . ll rg is ery rill t an d of m m n o b u t o u d n o t b e n du d for a n o a d n i e se p wer, c l e re y pr tr cte le gth o f M n a i z an H W n m . At E n d n o d o du ti e i sie el stery, Sw t erl , err eig le i tr ced th e — fo o n h h u ﬂ u e o z Ste n to r ho n 8 ft. G da k 8 ll wi g ig press re st ps p , e c t, ft. ;

Fu a a 8 ft. Ge i e n rin z i al ft. Solo ﬂo te 8 ft. Gam ba 8 ft. V o n g r , g p p , 4 , , i li e, D I TI N AR F R A T P 1 C O Y O O G N S O S . 4 5

8 ft. a da o n ab a 1 6 ft. m o d as o io n o f the 2 ft. an d ; pe l C tr ss, , e pl ye p rt 3 , ’ o 8 ft. The F u th e V o i n an d the da o are ff v b u t Cell , l tes , i l e, pe l st p e ecti e, the o h ar f I n b h h n u m n the o t ers e n o t very sa tis acto ry. o t t ese i str e ts p wer o f fu o an du e m a n to the m an u a a n d da u b a o d o n the ll r is i ly l pe l T s, v ice g — W n h u o n n n in i n an an d 1 1 i n . an d o o i . d n th o e o illis li es, t gh ly 9 w e rg , in th h — M f h v n o du d n o e o f o o u o . o d a t er o pr digi s p wer essrs . Tel r e i tr ce i t th e o a n b u b h m at L n n a h an d a F u rg ilt y t e etterke y C t edral, Irel l te

in . an d a Ga m b a o f the S te n to r ho n a . Th F u m a u p cl ss e l te e s res CC, 7 , n h m i d t e a b a n . h r a a G a e b d d. CC, 3% T ey e r e F o m the ab o v m n ha in fu o an a n d r e criticis s it will b e evide t t t ll rg , h n ov d h o fu d o k the ff o f h o w e well c ere wit p wer l ree w r , e ect t ese st ps is B t f r n satisfa cto r en o u gh . u o i n div idu a l o r o rdi n a r co m b i ati o n a l u se — y y — with the po ssib le exceptio n of the Flute an d pedal va rieties they are h a a n ha i n n Mo te n t r h n r a o to o o d d o . o S o o o a e lt get er c rse r t e re ver, p st ps m n o n ufﬁ n terrib le wi n d g o u r a ds . T e s cie tly m assi v e an d perv adin g to a f the u i m n o f a b u i d n a b n i m a a s tis y req re e ts l rg e l i gs, l eit esse t ally u sic l n d f f o m oa n c a n b e o b a n d b the m o m n f a - a ree r c rse ess, t i e y e pl y e t o l rg e sc led LE ATH ER ED I P u i S to ps with leathered lips (see L ) . There wo ld seem l ttle o bjectio n to the u se o f o n e Or two sto ps o f the S te n torpho n class in an o a n o f th e m a n i u d b u t the u o for h h h ro rg ﬁrst— g t e, p rp se w ic t ey were p fe sse dly desig n ed tha t o f secu ri n g pro dig io u s po wer fro m s m a ll o rg an s

fa fa a fa in in . The u av o u to o a a b f th is lse, t lly lse, pr ciple res lt s rs p lp ly o e As wa s o n d o u t u n D a de u x ex m a elzi n d. p i te der i pa so n (Sectio n o rga n to n e can n o t satisfa cto rily b e b u ilt u p by the m ere con glo m eratio n o f a fe w

f x m o n . u m u h c a n b e do n b the u s h sto ps o e tre e t e Tr e, c e y e o f t e afo re sa id leathered st o ps to ren der m o dera te-siz ed in stru m en ts m ore effective r In i o f the fa ha h than they u su a lly a e . sp te ct t t t ese sto ps are deceptiv e in o n a n d are in ff m u h m o o fu han h o u t e, , e ect, c re p wer l t t ey w ld m to b e v n h n v h d m an d x m at ﬁrst see , e e t ey, e ert eless , e e tre e ca re in their — H W ’ trea tm en t m u ch m o re Ste n to rpho n s . err eigle s pa ten t rig hts in E n gla n d for the Ste n to rpho n cla ss o f register are n o w o wn ed b y Herr Wi k rsh e im the - n o n i m a au kh u ff o f e e . a L L , , well k w p pe ker See lso SO O,

D O PP EL P LOTE . — S te rn Se e C I MB ALS TER N .

S till qu iet . x m n o f n o f o n v o f sta rk A preﬁ i plyi g s t ess t e, the re erse .

- — k S ft. ft. S till Ge da c t , 4

- A qu iet to n ed Gedeckt .

S to ppe d. A preﬁx den o ting that the pipes o f the sto p to which it is atta ched

B D . clo sed at the to p with a sto pper. u t see GE E CKT 1 46 D IC TION AR Y O F OR GAN S TOP S .

to S ppe d B a s s .

For a o n of on o m th e ba to a o o f o n o m m s re s s ec y, ss st p pe pipes is s eti e fo m d o f o d bu t the a i n o w o d to l f u n r e cl se pipes, pr ct ce is res rte ess req e tly han f was n o t o m . I n o an b u o m o o f a a o t r erly rg s ilt s e sc re ye rs g , it u n o m m o n t ﬁn d n B n u f r h o r f u 8 ft c o o e Stopped a ss do i g d ty o t ree o r . o i n th e o a n an d u n u n wa s u o m a to st ps Swell r , , til q ite rece tl , it c st r g y — y groo ve the D u lciana in to the Sto pped Diapaso n Bass m u ch to the d m n o f th ff f h etri e t e e ect o t e sto p .

S t o D — f f EDE ' ‘ e d i 8 t. a o 16 ft. t G CKI . p p a p a s o n , ls , 4 . See D o u b le Sto pped D ia paso n Lieblich B ordu n .

t — v L i h S o p p e d F l u t e An o cta e iebl c Gedeckt . See also

NASO N . — S t o p p e d H a r m o n i c T w e l f t h See H ARMON1c TOP P E D WE LFTH S T .

S O P P E D M E T A L L I — METALLIC FLU TE T C See .

— ’ S to rm P e da ! hu n d P da . Fr. Eff d o a or on n r e . T er e l ( ) r ge, T e r . ets G r u m r D n n Im itac io n T m . e . o o . . a ( ) St r , er (Sp ) de e pest d The Sto rm P eda l pro b ab ly o rigi n a ted in the o ld D ru m P edal an d the

m n m A m a - G a H u m . s d b av a wa s a a h h o n er el e y C ille Coll it ped l w ic , d ion d do n u v six r v n n o f o m th e bo o m o f epress , rew w s ccessi ely o se e tes r tt

th e da b oa d u a d . Th e ff as m a b e m a n e d a pe l r pw r s e ect, y well i gi , is re listic — h 2 ft i a n . A r R o n m a a u a h n t e . d s d s M . o b p rtic l rly w e 3 ree r w erts re rks , th e o n iv an a h u u o u in a a m o in ff c an b e c tr ce is r t er s perﬂ s , s ce re lly i p s g e ect go t b y Sitti n g o n the keys ! Man chester To wn Ha ll Shefﬁeld Albert H a ll ;

a m i hu h K n in o n fo m all b av a e- o v C r el te C rc , e s gt ( r erly) , ( y C ill C ll) Se ille a h d a A u n o Am é z u a 1 0 C t e r l ( q ili , 9 — S t r i n g G a m b a See GAMBA.

—P u m a f m L u av i s S a a b e F l u t e res bly ro ( at. ) S sweet,

ft. lu scio u s . 4 Wi i Mr. am H i n A o o d F u n v n d b . It n a c o w l te, i e te y ll ll is g e er lly

i h a n n v d m ou h . O a o n a the S u ab e F u m a stru cted w t i erte t cc si lly, l te is de b h an d a the o b n a i a . The o n is a a ft. o f m et l t e rig t cle r, st p ei g pr ct c lly 4 f n The S u ab e F u u ua o u d o n th e ho i o an . WaldﬂOte . l te is s lly C r rg

— i i u il Lat. Su av s u o u . 8 ft. S u a v ia l S a b e . ( ) sweet, l sc s

- Lo h f t A so ft to n ed Geigen P rin cipal . c er re ers o a speci m en at the

h u h B n . Fren ch C rc , er e

S u b u n der .

u h o n a or D ou b . B u t U B BA A preﬁx syn on ym o s wit C tr le see S SS .

1 8 R 4 D ICTION AR Y OF O GAN STOPS . n o rm al ba sis o f to n al desig n wo u ld to the au tho r seem to be en tirely u v At o u are s b ersive of all tru e prin ciples thereo f. the very tset we co nfro n ted with the fa ct tha t n o t o n ly wo u ld an en tire revo lu tio n in the m u n an d a an fo r th o a n b e n d d n a b u t ha sic writte rr ged e rg re ere ecess ry, t t a fair-siz ed i n stru m en t co n stru cted o n su ch a system wo u ld b e e n tirely

' b n N o r c an o b u eyo d the co n tro l o f a n y si ngle perfo rm er. st ps e e o d in a o x h u u ff n m io a n o f n cl se swell b wit o t s eri g so e deter r tio to e . “ The b o x a cts a s a kin d o f wet bla n ket o n the to n e of the pipes it n A ho h h m a m x n b v a th m e clo ses . lt ug t is y to so e e te t e o b i ted by e e plo y m n o f n a d n d u n v h m ain u n d ab ha e t i cre se wi press re, it e ert eless re s esir le t t en clo s u re b e recog n iz ed as the n orm al practice ; the fresh to n e o f the n n o d a o an ho u d a a do m ina n u m n An o h r u e cl se Gre t rg s l lw ys te the i str e t . t e flaw i n th h m i n th n f th cr ce n do f e sc e e rests e a tu re o e es itsel . In the o a the cresce n do n v o v n o t m au m n d o bu t a o rchestr i l es erely g e te p wer, ls , o in to the n a d d v o m n of th e u a ia a v m a a w g i cre se e el p e t pper p rt ls, ery teri l han f t m br I n th e cresce n do fin n a fi n c g e o i e . swell we d certai ly n e i crea se ’ “ o f o an d u a h v a a o n o f tim bre o r an - n as p wer, ( tis tr e) slig t ri ti , cl g ti t n da a d i t fo r the h u do n u n th i Ty ll c lle , swell s tters i fl e ce e upper part a ls to * a m a d x n b u t n o t b a n m an u ffi i n to f the cre s ndo rke e te t, y y e s s c e tly ree ce It u i n o f its all to o dyn a m ic a ttrib u tes . is c r o u s to o tice ho wthis strivin g a fter tru e expressio n has u n co n scio u sly m an ifested itself in the i n tro du ctio n i n o the o an o f n - o n d o — o h in u a i t Swell rg stri g t e st ps st ps ric pper p rt als .

I t o n hi a o u n ha the ft. G n P n i a a n d th u in a n is t s cc t t t 4 eige ri c p l, e Q t tO fa m ily co n stitu te su ch v alu ab le Swell sto ps . B u t n if h ca te n a o f v d n b e d m d i n u f i n h eve t is e i e ce ee e s ﬁc e t, t ere rem a i n s the cro w n in g o bjectio n that n o fa cility ex ists fo r a ccen t ua tin g

n v ua n o o f a ho d. Ob v io u th e cresce n do n i di id l tes c r sly, swell i crea ses the h Wh n b e a d ho w b po wer o f the who le c o rd. e it rec lle o jecti o na ble is this — — drawb a ck o n ly parti ally s u rm o u n ted in the case o f the v ario u s m e c han i

l ian fo - a in a a hm n it a t o n b a iz c a p o rte pl y g tt c e ts, will ce e re l ed tha t the

f I do n o t d a th e - x as o bjectio n is atal . epreci te Swell b o ; a m a tter o f fa ct it is an excellen t thin g that a n o rg a n is n o t expressive in the sen se referred

h f its ' di n it a nd u b m o u a n fo r m u o d v h . B ut to , c g y s li ity w l is I hav e i n v a ia b fo u n d h a in a o u i a m a n n d u h as a t Yo r ly t t c st c lly g ifice t e ifices , s c rk, lm a b u E n i d n a b o v all Haa m the n cre U , Str ss rg , i s e el , e rle , fi est sce n do effects are o b a n d n ot h b ox b u t b the b u i d n u f t i e , wit swell es, y l i g p o sto p u po n sto p in ra pid In a bu ildi ng o f u n fa vo u ra ble a co u stica l

This he o fin ds s ro n c o n firm a ti o n in the b e h av io u r o f the 8 f t ry t g t. S o lo Harm o nic in the n e wi n s rum e n a t Yo rk Mins e r Wa ke r Flute t t t ( l , Wi th the b ox c lo se d the to a e a s o e rab fre e fro m o ve on e s b u t o n o e n in the shut e rs th f s p pp r t l ly rt , p g t e fi th uppe r a r ia so undin a e f h a b o v e the n o e s e aki n is b ro u h o ut m os o m in e n p t l ( g tw l t t p g ) g t t pr tly. ' b 1 I id, p . 2 1. D I TIONAR F R T P I C Y O O GAN S O S . 49

o o n th h h x n t to n o pr perties, e o t er a n d it is often an excellen t e pedi e e cl se the a f F h m a n ot b an gre ter po rtio n o the o rg an . ro m t e ab ove re rks it is y y m u m n an to b e m d a o an a ou x o nl n , e s i plie th t the rg is s lless, e pressi ess i str e t B m a n m a a o n an d o f the d na m l cresce n do a d o n u , y e s y ic Swe l , r pi st p ip l ti b o d h a n o ib t n fu n ab a n o o an l p r si g , it is p ss le o i se co sider le vit lity i t rg m u sic .

— WE IZ R L S wis s Fl ute See SC H E F OTE . — rin a ft. An o din a m a ft. F u in the Ex ib on o a n S y g 4 r ry et l 4 l te h iti rg ,

Yo b a h na m . Wh it d u h an x ao d n a rk, e rs t is e y receive s c e tr r i ry title is u n kn o wn ; it ha s even b een sugg ested tha t the sto p was pro vided i n ca se o f ﬁre ! Po ssib ly the n am e wa s a co rru ptio n of

i he P an an P r r l t m n u f o b t . n x t d o G . o u ov d o Syr , e ipe, ( ) p yy , i i tive p ys

T .

— a fo u n d i n an n i Ta m b o u ri n e Occa sio n lly cie t spec ﬁcatio n s.

Ta pa da 1 sto pped.

i I o d D ia a n Ta pa d I O St ppe p so .

Ta ra n ta n ta ra .

h m f n n i Th e A na m e fo r t e Tru pet o u d i n a cien t Germ an speciﬁcat o n s . o n o m ato poeic o rig in o f this n a m e is v ery a pparen t ! — Te n o ro o n 1 6 ft.

n h m f th a n u o a 1 f A n a m e frequ en tly applied i t e iddle o e l st ce t ry t 6 t. u u a Bo u do n x n d n o n to n o o n the m a n ua o f ﬂue sto p, s lly r , e te i g ly te r C l The n u m n b a n h n a m was a a n o English o rg an s . i str e t e ri g t is e re lly te r

Ha u tb o y .

ft. n m an u a n A o 6 ft. o D m a . Dou b da . Te n th eci le Tierce, 3s l, % pe l

’

i h «331 a n . T E R P O D I O N reprre w to del g t . ? so g

d lo w m o u h o f n on ho u h d f i A Gam b a with a very wi e t , kee t e t g e ect ve Itwas in v n db the ﬁrm o f hu z an d n d in h o an S peech. e te y Sc l e ﬁrst i serte t eir rg a d a 1 8 The n u m n n n d b B u hm an n at H alb erstadt C the r l ( i str e t, i ve te y sc , o f B l n in 1 8 16 on d of o f ood h h u h a er i , , c siste sticks w w ic were str ck wit “ ” The S a o m a n n the o f the o an o was h a m m er . pit cc p yi g speech rg st p s u ppo sed to b e represen ta tive o f this percu ssio n . Su ch defecti v e speech is W m a 18 0 u 1 n o a d. B m n L b 8 fo rtu n a tely n o lo ger t ler te re e ; is r, 4 ; eck, 54 ;

n a 1 86 2 h u z . . P au o u h o t B un ha D o c ster, (Sc l e) St l , S t p r r swick C pel,

B o o h o f Wa d . Deeds ; ( t , keﬁel ) I SO D I CT ION ARY OF O R GAN STOPS .

' ' Te r o m e le re 7re w to d h . u s l mg o n . p p elig t l s g A free -reed sto p in serted at Beau v ais Cathedral ( 18 2 7 The pipes T n u wa s v a a b at the o o n were o f Eu ph on e shape . he wi d press re ri le pti o f the a an th o h fo o n to x u se . pl yer, d e st p, t ere re, pe e pressive See

CONOC LYTE . — E R IA z n h d. Lat. u T T N Ter ia . ( ) Terti s t ir

A M x It o n o f an d La i o . The i tu re sto p fo u n d abro ad. c sists Tierce r g t n am e is derived fro m the i n terv a l separati n g its co n stit u en t ran ks . T E RZ i T erce .

Te rz — AV P L R a Ma n o See OCT E COU E . — Te rz E R TIAN i a n See T .

Th o - 1 6 f e rb a t. A reed sto p i n clu ded i n th e Speciﬁcatio n of the o rg an at K on igsb erg a h C t edra l T he The o rb a was a v ariety of Lu te . — Th u n a S To n b ass An an i n n a m fo r G da k . b S . c e t e e c t This n am e pro bab ly o rigi n ated in th e fa ct tha t sto pped pipes are said — to b e o f u h a n d u h a n h ton e G d k 8 ft. o n . s c s c le gt e ec t, t e

Th n r T n n r TOR M P E D AL u de o e e . See S .

- T i i b ia a hin b on h n le . It u o d ha b a Ti s e, e ce g is s pp se t t

o in a the F u was m ad f o m the o f an o r o h rig lly l te e r legs cr es, t er r n La b i d . P n E . 1 6 6 seu H n e s n e cdoc . r s ( li y, p , 3 e ce, p y ( te

Lat. ) Ti bia a pi pe . The Ti bia was a Flu te g iv in g sev eral n o tes from th e on e pipe b y m ean s ’ of ﬁn g er h o les ; whereas th e Fistu la co rrespo n ded with th e P an s P ipes . The wo rd Tib ia has co n sisten tly b een ada pted to th e n o m en cla tu re o f n The b a Ma wa s o rg a sto ps o n th e Co n tin en t fo r so m e cen tu ries . Ti i j o r u sed by Schu lz e at D o n ca ster Som e v ery im perfectly i n fo rm ed perso n s ha v e actu ally la b o u red u n der the stra n g e m isco n cepti o n tha t its ’ ’ u se i n su ch term i n o lo gy was i n itiated as a b o m b a stic coup d e ta t o n the - n i i n w u in h o u n part o f Mr. H o pe Jo es The wo rd Tib a s o sed t is c try to d n o a ua i o f o n o f an n n m a iv fu an d a ha a e te q l ty t e i te sely ss e, ll cle r c r cter, z H - o n h u h fa i n fo h ado d b B h a d b Mr. o o o ﬁrst re li e y pe J es, t g tly res we y is p

in his a ab a . It o du d f o m of v a a i d n Cl r ell is pr ce r pipes ery l rg e sc le, y el i g a v o u m o f fo u n da o n o n a o m a n d b th e m n m u m o f h a m o n ic l e ti t e, cc p ie y i i r m n Ev n f m a u u ia oin of v th e o n o f develo p e t . e ro p rely s perﬁc l p t iew t e th ib ia fam is m a u fu h its v a u in d n e T ily o st ttractive ; b t rt er, l e wel i g tog ether the co n stitu en t t o n es o f th e o rg a n a n d Co pi n g with m o dern

- d o D IAP ASON S o n 8 n m a b . It o th e ree w rk ( see , ecti ) is i esti le p ssesses “ pecu liar facu lty o f gettin g at the b a ck of all o ther co m b i n a tio n a l sto ps

D ICTION AR F AN Y O ORG STOP S .

— — Fi . A Tibia D ura ori in al f B Tibia D ura re se n fo m . g ( g o rm ) . (p t r )

Mid . C i n Alt. C F RGA P 1 DICTIONARY O O N STO S . 53

u ha it. T i b i a . D a r a D ru s rd. 4

- n f T b a A f o n n n o n . o na a o sto p o Mr. Hope J es i ve ti The rigi l p tter i i The D u ra was co m po sed o f open wood pipes of extraordin ary Shape . at th b a u h ha o b ut n a d in d h as pipe e se was bro ad tho g s ll w, i cre se ept it a n The f em a n d n d u a b u t the f on sce ded. ba ck o the pipe r i e perpe ic l r, r t at the to fell o u twa rds at su ch an angle as to ren der the pipe square p. d For o m o u a on -fo o was The si es were set parallel . s e cc lt re s the pipe t set h xa m i . T e o n the c ap The stop was provided with leathered lips. s le e ple Pau o f b a D u a m ad af h m an n in at . l, the Ti i r , e ter t is er, is the Swell St “ ” Bu on -o n - n Th on f h o b h ha d an d a h n rt Tre t . e t e o t is st p is rig t, r se rc i g, It was a an d stru ck the au tho r as very sim ila r to the Jardin e Clear Flu te . m im n n h M ere pro ba tio n ary an d ten tative exper e t of n o in tri sic wort . o re n ho v Mr H o on e s has u d d in o du o n o f rece tly, we er, . pe J s ccee e the pr cti the n f m n n m a f sam e to e ro a pipe o f m ore reas o ab le con stru ctio . I t is de o i w a n of ar o h h m u h n d d . n h d wo d, wit t e o t o the wi e s e The e p tter pipe is n at th b a f t f n b u n o h b a an d arro w e se ro m back o ro t, t as it as ce ds b t ck f n m o v o u a h u n o t ufﬁ i n l to n d u ar ro t e tw rds, t o gh s c e t y re er the pipe sq e.

o la u d b M . In am o . o f H fo d u The st p is rg ely se y essrs g r C , ere r (s ccesso rs I n a m H o - n Wa k a W a n ha to gr , pe Jo es rwic C stle ; esley C pel,

- Wa k I n am H o on 8: o . P a h hu Lo u hb o o u h rwic ( gr , pe J es C ) ris C rch , g r g o u n n H a Au a a I n am Th ib ia D u Melb r e To w ll, str li ( g r e T ra has

- ‘ r. H o n in Am also b een u sed by M ope J es erica .

Ma a M o r. 1 6 ft. ft T i b i a . a gi ( Dr j r gre te 8 .

The n am m o d in G m an to d i n a a m an u a F u do e is e pl ye er y es g te l l te ub le, A o o f th d o n was u u sually of stopped pipes . st p is escripti sed b y Schu lz e at D o n ca ster P a rish Chu rch Th e n a m e is also u sed i n Germ an y

n o an o n 8 ft. F u o on d n to our H ohlﬂut u f to de te pe l te c rresp i g e , b t o m u ch I t f u fu ller a n d m o re m assive ton e . is req en tly em ployed o n the Grea t The b a Ma o m a b e d ib d as a b a P n o rga n . Ti i j r y escr e Ti i le a m ade of less n a im m e se sc le .

M M n o m a i i n r . 8 ft. ft T i b a . o i r s ller 4 .

I n G m a n a ar - ca d G d k the o d mi n or m h er y l g e s le e ec t, w r erely aving

Th nam u Mr. n f n to . e d b o H . om o re ere ce pitch e is se y J h C pt n , of f his n v n n ham to d n a a o o on . W m No tti g , esig te st p i e ti hilst Ger an b u ilders frequ en tly u se a large-scaled fu ll-ton ed o pen Flu te (see TI BIA MAJOR ) o n Mr n f o an . om o t m sto their Grea t rg s, C pt pre ers o e ploy a pped pipe o f the fam as o ndu to b b n d Tib ia ily, c cive etter le . The Tib ia Min o r b ears s om e

For the ﬁrs air o f i us ra io n s the au hor is in de b e d to the kin dn e ss o f Dr t p ll t t t t . A. B . ’ Plan o f S t. Pau l s Bur on for the se co nd ai to ha of Mr. E us ac e In am t, , t ; p r t t t gr , j un . , of He re ford. [ DICTIONAR O F OR GAN S T P 54 Y O S .

’ - b in an to Mr. H o n a a b u t resem bl ce pe J o es Tib ia Cl u s , e g destin ed m o re for u se o n a n o pen s oun dbo ard differs i n n w n a so m e i m portan t respects . The sto p is o g e er lly m f o od ho u h a m n a b n ade o w , t g sever l speci e s h ve ee

f . I n ll a h u h m ade o m etal a c ses t e pper lip is lea t ered. Th n f th a Min n a f e to e O e Tib i o r is extrao rdi rily e ective. In the b ass it is rou n d an d velvety with a s u spicio n o f n n s m ooth Fren ch H o rn qua lity . I the treble the to e fu b o m l a an d . to n o o f the o ec es very c e r ll The p tes st p, nd b a in h m o m m an i eed, e r t e s e rese bl ce to the fu ll liqu id n o o f O a n a hou h f Of o u f o m th tes the c ri , t g ree, c rse. r e u n d ab f a u o f ha n u m n Wh n esir le e t res t t i str e t . ilst e tirely devo id of the o bjectio n ab le h ooti ng qu ality s o m etim es d a d b o ful F u fo m a ispl ye y p wer l tes, it r s so lo sto p o f m a ab ﬁne ff a n d in o m b na on v t re rk ly e ect, c i ti ser es o add

m u a n a n d fu n of on to b a n ch cle r ess l ess t e the tre le, d,

in n a x to the fu x n b n al ge er l, e ercises llest e te t the e eﬁci characteristics o f the Tibia class of stop already deta iled If o n b a on o f fa u so a n (see TrBrA) . ly y re s the c lty dv a x d o f hu m o f n an n i h ta e o usl e ercise , t s lli yi d e r c i n g y — g g the u pper n o tes o f o ther sto ps too Often pro n e to m ha d id n a n d n i n on —the b a M n o b eco e r , str e t thi t e Ti i i r deserves reco g n itio n as o ne o f the m o st v a l uab le of ’

m n on a n v n on . All o u Radfo d N o n o der t l i e ti s S ls , r , tti g h hu N n ham . a n u M F. hu h m Em m o U . ha ; el C rc , tti g ; C rc , fo d N o in ham Ba hu h a fo Staple r , tt g ; ptist C rc , St ple rd, n ham H u kn a o a d No n ham Em m an u Notti g ; c ll T rk r , tti g ; el An v a L . a a fo r a Chu rch , eicester er g e sc le CC wo o d

b e a n as 6 in . x in the m u Me ta l Tib ia Min or pipe m ay t ke , CC, 5 . , o th

sb °w' n c u t u r in . A m a m a u a b ei g p ij CC et l pipe e s res s i n 5 n a rro w m o uth 6 i n . di a m . The m ou h i s na w th re d m u h as o . “ 1 le a e up, c eter t rr

i o f f T I B IA M O L L I S Mo ll s s t . 8 t. ; 4 ft. H - n i The sto p in ven ted and so nam ed by Mr. ope Jo es s a Flu te o f

m o d o f O n a n u a ood . The m ou h s o f o n . It o g t t e is c p se pe re—ct l r w pipes t , h v n a a d 12a n ad o f u n n n a o th e whic is ery lo g , is vertic lly pl ce , i ste r i g cr ss i in h u a d o n is a a h d o f the . The pipe t e u s l irecti , p r llel w t the si es pipe n a d u o n e o n o f the for a o n d ab d a n an d wi d is c rrie p c r er pipe c si er le ist ce, the b od o f the n o the m u T b lo wn in a thin sheet acro ss y pipe i t o th . he at W Th o xam . G or e stc o m b l i in v d. e l , e Pa p is erte s e e ple is St e g e rk, h a h The n am b a Mo a o m o d b Mr o hn a . H Bl ck e t e Ti i llis is ls e pl ye y J .

o m o n o f No n ham to d n o a v a Of his b a M n o C pt , tti g , e te riety Ti i i r h an d the o n m o ubdu d an h T he m ou t is less wide, t e re s e th t at o f the paren t sto p . r 6 DICTION AR OF OR GAN 5 Y STOPS. u f ’ to . A b i in the au h o o on m ad b M p f} i tre le C p pe t r s p ssessi , e y essrs . 1 No m — -— an 8: B a d m a u 2 in . x r ih . u r e r , e s res , 5 i g , the pper lip b ei n g c ut ” u i n p 5 .

Ti i —r b a . P r o f u n d a 6 ft.

TI M - B I A P R O FU ND IS S I A z ft. Lat P o fun d g ( ) r is deep . Pro fu issim us d nd . IB IA P very eep See T LENA.

’ h a o fu xam o f the fo m T ere is very p wer l e ple r er at St. Mary s Collegiate u Wa Ho - o n Ch rch , rwick ( pe J es) .

T b a Rure s tris R us o u n i i c try. See BAUER FLOTE.

Tib ia S ilv e stris - a ain n to a Silvester ppert i g woo d. See W F E ALD LOT .

i a r Vu a o m m on Tib a Vu s . o m m o n lg i lg ris C C pipe. A n am e

for B LOCKFLOTE.

- T i e r c e z . Lat. iu h d. Man ua 1 f da Ter ( ) Tert s t ir l 2 t. pe l

ft. It a o o u i n o ld o a n as 6 ft. an d a l as 1 2 1 3 ls cc rs rg s § , r re y } ft A m utation stop dra wi ng sep ara tely o r in con j un ctio n with o ther x Th n o m a h Mi ture ran ks . e Tierce is r lly pitc ed at a seven teen th ab ove the u n u d u n d MI T R E ison . Its se is discusse er X U .

' I — Ho - o n o TI E R A f n . C N S t. to e pe J es st p .

n o o b a n h i was n d in the o A vel st p, e ri g t is t tle, i serte Ch ir organ o f the ﬁ u m n d in Wo e a h d a H o - n ne in str e t erecte rc ster C t e r l ( pe J o es, The Ti rc in a on u d of o d tin o f v m a a a nd b a e is c str cte st ppe pipes ery s ll sc le e rded.

are ol d the in d a a n d b o m a . The m n The stoppers s i , w w y, re, s ll ai stru ctural pecu liarity o f the Tie rc in a is a so rt o f shade pro jectin g o ver the top of the m h Tie rc in a i d a d o u n d o n a a Of the ou t . The y el s ree y gr t e, tr ce ﬁrst u pper f an d on d u a t a i o u n d partial (twel th) , the sec pper p r i l (t erce) , s ed in equ a l o n The n a ff f pro po rtion to the grou n d t e. g e er l e ect o this sto p is m o st u a an d i n om b n a io n the Tie rc in a n u m n a in r pec li r, c i t is i str e t l the p o ' du on o f m an u ou tzm bres . The are un fo u n a l cti y c ri s pipes , rt te y, Of n u io n a n d a d h o n o f? h very delica te co stit t , re ily t r w t eir speech . The M W o d b r. . W h specim en referred to was v ice y J . iteley . The Tie rc in a a o u in m on o an xh b d at . Lou Ex o o n 1 lso cc rs the ster rg e i ite St is p siti , 904 (Art Organ — To lo sa n a The n am e occu rred i n the speciﬁcatio n o f the fo rm er o rgan at ’ “ a h d a as v n in H a m on a i m o f th Seville C t e r l, gi e ilt s C tech s e Org an ’ ’ a l a i It a a and in H o pkin s an d Rim b u t s tre t se . ppe rs to have been m af th o f o u an o rdin ary stop n a ed ter e to wn T u lo se . P 1 DICTIONAR Y O F O R GAN STO S . 57

nam a d b Mr. To n itru a um bl n o u n d unde . A y r i g s , th r e pplie

- H o n 6 ft R u an t Ba . pe Jo es to a 4 . es lt ss

To n u a a m a - o or b a s Fa b ri Tonu s ton e, F b er et l w rker l ck

m h an AMPANA. s it . See GLOCKLEIN, d C

R A S P S l I — n o h T N O T O N S TO P Tra sp sition Switc . A sto p o r switch con trolling a m echan ical device for tran sposing the b pitch. This is a cco m plished by the m ediu m o f a false keyb o ard or a ack ' fa a an m n or in th o f a n um n c an b e e ﬁe c te d ll rr g e e t, e case electric l i str e ts it b m an o f the n t a n o in d a v al u ab ad un to y e s co tacts . A r sp s g evice is le j ct m a n u m n n n d f r a o r m on hu h u n to b e s ll i str e ts i te ed o vill g e issi c rc es, likely ’ a b to o m m an u fu f a u o f Mr. a on le c d skilled perform ers . It is a se l e t re C ss s

P o O an an d m h m a n um n . The an o n sitive rg , so e o t er si il r i str e ts tr sp si g bo a d is n o n o m n io n A n h in his b oo key r velty . It is e t ed by r old Sc lick k, u b d as a a I n w o n in 1 0 b M ha s 1 1. e as a odu d p lishe e rly 5 O ls i tr ce 73 , y ic el

En n o his . o an a . ho a B gler, i t rg t St Nic l s, rieg

R S — —~ L R AVE R TRAVE O T R AVE R S B AS S See F AUTO T S O .

Tre m ul us ha n f . E n m u ou . T r e m u l a n t s ki g . f ( g ) tre l s

In n d o n the n n n ab o u the m dd f the X VI th ve te Co ti e t t i le o cen tury . An a pplian ce i n tro du ced i n to the o rga n for the pu rpose Of distu rbi ng the n u to a n an d o f h b n u n an u n wi d s pply cert i stops, t ere y i d ci g dulati on i n

n A o din to its d o o n a to the n d-d b u their to e . cc r g isp siti rel tive wi istri ting o on o f the o a n the m u a n m a so b e ar an d as to ac p rti s rg , Tre l t y r g e t o n the e n n u m n o n o m nd v idu a d a m n a div on o r u f tire i str e t, s e i i l ep rt e t l isi gro p O

r n o n a n . Th e a n o n f n sto ps, o eve si gle register e rliest k w re ere ce to the ’ u se Of the Trem u la n t in this cou n try o ccurs in con n ection with Dallam s ’ “ an a n o am b d i n h u Org t Ki g s C llege, C ri g e whic it fig red as ye ’ Ma - - h n o . Fa h m h . at H B n a s aki g st ppe t er S it (St ry ill, illi gsg te, an d “ ne tz le r l i u d Trim ol o e s. The m v m u an S ikew se se pri iti e Tre l t, which con sisted m erely o f a valve situa ted in th e tru n k an d cau sed to flu tter by n n z o u n te rin an o f a n m u hav b the wi d e g the resist ce spri g, st e een a very * I n d d S c hlim b ach d v h n o isy and im perfect con trivan ce. ee eli ers im self of the fo llo wi n g rem arks Su ch an u n dula to ry stop [the Bifa ra]m u st b e m ost m t the o a n a in a i h -m n d d o an c a n a welco e o rg pl yer, s ce r g t i e rg ist sc rcely u se a n so m a u u a in d m e t n lic h so the Trem u l t, g i cr ck is it s lly ( e sie g beschaffe n " n d as to b e in u ff abl or n u d ou . The m o m n of si ) , s er e eve l icr s first i pr ve e ts an o n u n a a to a o i n a d the Pa a n b u y c seq e ce ppe r h ve r gi te with risi ilders . h Lo n don bu d a S ub sequ en tly Messrs . Hill a nd o t er il ers c rried o n the ta sk

' 16 . p. 3 1 8 I 5 D C TIO N AR V o r O R GAN S TO P S .

O f i n 1 n a fo m o f a m o a n . a r H n W 8 a d eli r tio The l te M . e ry illis 53 p te te r m u an the S d o f hi h was a a b o f m o d a o n a o d n Tre l t , pee w c c p le iﬁc ti cc r i g in o du d to the d o f d o n Of a a Mr. a o n in 1 8 8 egree epressi ped l . C ss 9 tr ce “ an o h v a i V b a o a n m u a n o f d a b a t er r ety, yclept i r t , sile t Tre l t elic te e t, v a n in t h n f the ou v Om a h ryi g its speed a cco rd g o t e po sitio O Swell l res ( g ,

The a i v a u o f h v an n o b e o v a d. The Irela n d) . rt stic l e t is de ice c t err te dead b ea t of a Trem u lan t r un n ing at o n e speed ten ds to ru i n the effect of a an d m v m orz a n do— a o n a du - n o u h slo w i pressi e s especi lly ll to ed st p, s c f H a f d a s a G d o r Ha m o n F u . Th Au n an o . o o e eckt r ic l te e sti Org C , rt r , “ ” m o a Fa n m o o o m ha m i a to ha m o d in e pl y Tre l , s ew t si l r t t e pl ye

Am n I t n - a fan u n d d erica s u ctio n o rga n s . co sists o f a do u ble bl ded s spe e o v the i a n d d v n b fo u m o o u d in a a n d a u a d er p pes , is ri e y r o t rs c ple p irs ct te h Th ff f h n m u an is m u a a n b y t e pipe wi n d. e e ect o t is Fa Tre l t sic l d

a n the o u n d av b n a u n a te r n a o n . Th b a ple si g , s w es ei g cted po f ge er ti e e t o n o u n d i n the b a an d do n o t a ak O f the h av d is less pr ce ss , es p rt e e y sle g e h a m m er thu m p wh ich so ra pidly b eco m es wea riso m e to the e ar (See

N h a n x a h B a i hu h R u h n B OC KSCH WEBU G . am t t e d ) T ere is e ple pt st C rc , s e , W h n Mr. i o m m u d v a fa o u m N o rt a m pto . ill s s eti es sec re ery s tis ct ry res lts erely

n - - Mo b y the em plo ym e t o f a larg e free reed i n serted i n the wi n d chest . st m o dern Trem u lan ts are so co n stru cted tha t their speed is adj ustab le fro m Th V x H m i m n f a i withi n th e o rga n . e o u an a requ res a Tre u la t o r p d b ea t a V b a o i n fa —b ut in the a o f m o o h o h h ﬂ ue o r i r t , ct c se st t er st ps, w et er

d o n e Of a d u a io n is o din a o n du to u o u . ree , less r pi p ls t r rily c cive s peri r res lts ' ’ f o u ho o od fo o b d b the zdee x e O f id au O c rse, t se g lks sesse y fi rig ly stere “ n h odox im a o a n m u ho who i b o o n o u h a d ort legit te rg sic, t se w ll r k s c ” a s an o h a a n o n a din the o a n as a m sa crilege rc estr l tr scripti , reg r g rg ere m echan ica l m a chin e fo r the g ri n di ng o u t o f sto ichio m etrica lly a ccu ra te u n o n fin d h m v u n ab to o a the im b m o k- a ho co terp i t, t e sel es le t ler te ecile c p t s At th f n u n he u f h u o f th e Trem u la n t . e risk o i c rri g t ridic le o t ese p ristic bb ite s i t h b e u d h a a u d o an m h H O , let ere s gg este t t well eq ippe rg ig t b in u d two v a i o f m u an o n e o f the v ibra to o r fan pro fita ly cl e riet es Tre l t,

a n d o n e o f o fu o u a o n . m a u n d VIOLE type , p wer l, sl w p ls ti (See re rks er ’ ha s u n n u n f D O R CHESTR E) . T t sto p der the i ﬂ e ce o the Trem u lan t sh o u ld n ev er system atica lly b e co m b i n ed with tho se n o t so affected is a n

- u n n the do m o f h h is f d n . i nj ctio , wis w ic sel evi e t Trem ula n ts frequ en tly hav e the u n desira b le defect Of u n du ly dist urb i n g

th e h o f th e o h a ff . On a n the a o n o f the m u an pitc st ps t ey ect rresti g cti Tre l t , i t will b e fo u n d th at th e pitch o f s u ch a sto p as the Vox H u m a n a ( th e o f h h x b u t on o o the o n u fo r n a n pipes w ic e ercise little c tr l ver t g es) , i st ce, will so m etim es hav e b een deﬂected to the exten t O f n ea rly a qu a rter o f a

h fa u m a o b ab b e a b u d to the v o fu n ton e . T is lt y pr ly ttri te ery p wer l spri gs D ifﬁ u m im x n O fte n a ttached to Trem u lan ts . c lty is s o et es e perie ced i n

n u n m u an to a c t h n the o a n o are o f the in -ri i d ci g Tre l ts , w e rg reserv irs s gle b

1 60 D ICTION AR Y O F OR GAN S TO P S . — v a o n U BA. 1 6 ft. T r o m b o n e Fo r deri ti , see T m m n 2 ft. Ge r. P o a u n ro Co n tra Tro b o e, 3 ( ) s e T

b o n e

i n u h d n in h The two n a m es are here d sti g is e , si ce t is

co u n try P o sau n e is o rdi n a rily restricted to the m a n ual .

- a n o n a P o au n 2 ft. o u ho v P o sa u n e 1 6 ft. d C tr s e 3 cc r, we er,

- a W in Ab b H an d on a Po a un 2 ft. at t estm ster ey ( ill) , C tr s e 3 th e A b H a Lo n don W i In h n an l ert ll, ( ill s, t ese i st ces it wou ld a ppear that the n am e P o sa un e is em ployed to den o te a sto p o f m ore in ten se C ha ra cter tha n the u su al i u o m b o n . The o m b o n a d o a o Tr e Tr e is ree st p, v r sly n d in h o u n n the m a n u a m a b e h d represe te t is c try. O l it y el u iv a n to D ou b u m The o d o m b o n is eq le t le Tr pet . w r Tr e

u u a m o d to d i n a a n da d Of 1 6 ft. h s lly e pl ye es g te y pe l ree , pitc , m o o fu han a o n a Fa o o the n a m B o m b a d re p wer l t C tr g tt , e r e ha v i n n o w fa n in iv u u The i g lle to co m para t e des et de . p pes o f the Tro m bo n e are m ade Of either m eta l ( u su a lly o f z in c)

r . h a r f In th e o woo d T ey e O i nv erted c o n ica l S hape . su ccessfu l v o ici n g o f a ll po werfu l pedal reeds heav y wi n d

f u a s n u n Th i O f u o o i e d n o . e o press re is, c rse, g l west p pes f d are n a o v d i h o m n u m a 3 2 t. ree s g e er lly pr ide w t s e p e tic h ak th dev ice fo r fa cilita ti n g their pro m pt speech . T is t es e f m o f a m o o o r m o o o n n d h th e o n u a n d o r t r t rs c ecte wit t g e, so a rra n ged as to b eco m e i n ﬂa ted o n th e depressi o n o f the k The a id n a io n o f h m o o v to peda l e y. r p i ﬂ t t ese t rs ser es

th n a f h n M . H a m o n destro y e i erti o t e to g u e . essrs ill were gst h if n o t the to a do the u s o f th n u m t e first, first, pt e e p e atic hi w m a n d v . firm h a s m o d t o o o n st rti g e ice T s e pl ye t rs, o e n th h h a m to a a d e o to Ch th e o n u . T e st rt t er eck, t g e s e n h n n i i W k arra n gem e t as rece tly b ee u t l z ed by Messrs . al er at Yo M n 1 0 The m o u u a a n a do d b rk i ster 9 re s l pl , pte y W i is to m o o n e m o o h o d n the on u h n ill s, e pl y t r l i g t g e, w e o u t o f u se a a n the fa o f the d F u Th g i st ce ree (see ig re) . is i B pa ttern wa s u sed b y Messrs . H ll at irm i n gh am To wn H a ll

At dn o n Ha H 1 88 x th n Sy ey T w ll ( ill, 9) e ists e o ly f i n h I t a b a t. o t e o d. a A re l 64 st p w rl is e ti ng reed. cco rd “ ” o Mr E o n a n a in g t . llist ( Org s n d Tu n in g ) it is said to ff K u m b in a d m . o R MB rese le e ect ettle r See als T O A.

m m T ro m m e l Tro el dru m .

The o d o f o n o m a o o o i in th e o u n d n n the o i w r is t p eic r g , s represe ti g r ll n g

D R M P E D AL . o f the dru m . See U

u m Tro m pe te Tr pet . D ICTIO N A R OF ORGAN ST P Y O S . 16 1

S e c io n Of P n e u m a ic S a e r for 2 ft. Re t t t rt 3 e d.

a an d assi n thro u h the c ha nne l 6 i nﬂ ate the m Win d e n te rs the bo ot a t , , p g g , s o tor M. M carrie s with it wa W a n t r re le e s h u the wire c b e aring the d , d he e by as t e to ng e T, whic h is a t on ce se t i n to m otion t by its e las tic i y. 1 62 D ICTION AR Y O F OR GAN STO PS .

Tro m pe te re ng e I Tro m peter tru m peter ; E n g el an g el .

An a n i u a d in the a b o in an m a o n u m . In gel, s t te c se, l w g i it ti Tr pet so m e cases fa cilities were prov ided for the m o vem en t Of this Tru m pet h h to an d f o m th m o u h . a n hu h B n Ga o n u r e t G rris o C rc , erli ; rris C rc , P o dam hi W ts (Joac m ag n er) .

T R O M P E T E um T Tr pet .

i T R - — P T O M P E T TE A C H A M A D E See FAN T RU M E . — T r o m p e t t e H a r m o n i q u e See TU BA.

~ m . Fo r T r u m p e t Trom pette ; (Ge r. ) Tro pete ‘

d v a o n u m 1 6 ft. U BA. 8 ft. D o u b eri ti , see T le Tr pet,

A o fu ho u - u u al f u n o n the G a o an p wer l c r s reed s ly o d re t rg , h o u h o a o n a on the an d v a o n the h o . t g cc si lly Swell , ery r rely C ir Th e are Of m a a n d O f in v d o n a ha . The pipes et l, erte c ic l s pe

o n u n v t g es ge era lly exhib it a co n sidera b le degree Of cu r ature . ” Mr H “ . m an n m h i n Mo d n an u n n a er S it , er Org T i g , sserts “ ha th e u m i n h an has ha m o n i h h f o m t t Tr pet t e o rg r cs, w ic r ” h i an m n n th e n h t e r cl g we ay j u dg e to exte d b eyo d twe tiet . I t is du e to the fa ct that reed sto ps are si n gu larly wea lthy in these higher disso n an t o v erto n es that they so frequen tly fail “ in h b n n a ib u The o di n a f - o n d t eir le di g ttr tes . r ry ree t e u m h n O f du e o fu n h a o n i u ou e x Tr pet, w e p wer, r is es c sp c s

m liﬁc a tio n f th v a f h o n n io n . A o f e p o e lidity o t is c te t s t, sm o o th-to n ed Tu b a is v a stly m o re e ﬂi c ie n t a n d serv icea ble

a n th u o m a a an u m . U n ik the a th e c st ry Gre t o rg Tr pet l e l tter, it is av ailable a s an effectiv e so lo sto p ; in co m b in a tio n a lso b n au o u i n o n it is d n u h d b u o ei g less r c s t e, isti g is e y s peri r Wh a for o din a d ff m o n b len din g pro perties . ere s r ry ree e ects der hou d am uf the G a o a n u b a Min o Swell reeds s l ply s ﬁce, re t rg T r or Tro m b a m ay b e u sed in a m an n er an a logo u s to th e o rchestral “ " i n adv ab o n the o h han t v . It s o b rass i is le, t er d, o ice Swell “ hi in o n as the fa Of h n reeds to o t ck t e, ct t eir e clo su re ha s

N v h sm ootlzn e ss f to b e taken i n to accou n t . e ert eless o t o n e is “ ” “ n ot n ecessarily co n cu rren t with this thick or Clo se i qual ty. It is im po rtan t fu lly to g rasp th e fa ct tha t m odern to n a l desig n has in n o s m a ll m easu re b een m o diﬁed b y the dev elo p m en t Of th e S well o rg an a s a po ten tial fa cto r of the t o n a l W ad n h m d m a n d n o n i ion . e hav a d sc e e, e i g rec g t e lre y wit esse D IAP ASON S io n 8 h o w h a the u dd n m a m o ho (see , ect ) t t s e et rp sis Of this depa rtm en t fro m a m ere E ch o o rga n i n to a highly u m Tr pe t . m o an o n i u n f a u o f the o an a o m i h i p rt t c st t e t e t re rg , cc pl s ed by

1 64 D IC TI O N AR Y O F O R GAN STO P S .

Wi in hi ﬁn e n u m n at the A xan d a u i z Th a Mr. s t li ed. e l te llis i str e ts le r ’ h d a u d Pa a Lo n do n . G o H a L o o L n o n a l ce, ; St e rg e s ll, iverp l ; i c l C t e r l ; se ,

a o x im a 2 0 in s. H is u ba at the A b H a Lo n do n S a ppr tely, T s l ert ll , , pe k ’

n 2 2 in In the o a n at . P au a h d a a s n a o ab o u t s . rg St l s C t e r l, fi lly b u i b him in 1 0 1 the b o f the u b a in the Do m ak re lt y 9 , tre le T e spe s n n in h u n f o n a press u re Of n o less tha n 2 5 i n s. I co sider g t e q estio o n d u ab o u n a in the a u m m a to wi press res it is s l tely esse ti l, first pl ce, s rily b a n ish the fa lse idea tha t hea v y wi n d pressu re is o rdin a rily e m plo yed fo r th e pu rpo se o f e xtra cti n g th e greatest po ssible am o u n t o f n o ise fro m the o a n d o n o r n d d ha n a i o du o f a st ps pl te it, , i ee , t t it is ecess r ly pr ctive gre t w f h ’ “ o . I n a v o u o O t e au ho n d o n a D n in p wer pre i s rk t r s , e title T l esig ” Mo d n O a n B u i din wa s o in d o u t ha th m a n in the er rg l g , it p te t t e i o bject u se o f h a v in d u is the o du o n o f n o n h m a e y w press re pr cti refi ed t e . T is tter, n d d is so m o a n a o n e s o fa r a s m o d n o an b u i d n o n n d i ee , i p rt t , er rg l i g is c cer e , ha the a a a n a to fl u e an d d o m a o a b t t p ss g e (rel ti g like ree w rk) y, pr fit ly

ha b e h o du d. per ps , ere repr ce The tru th o f this v iew o f the wi n d pressu re qu estio n is dem o n strated b the fa ha H o - o n fo r in a n ha s a d i n ham b o a n y ct t t pe J es, st ce, pl ce c er rg s,

a n d m a Ch u h d o n 10 in . in d ho u an di a a s ll rc es, ree s w wit t y s g ree ble effect in H is o a n are n o m a v o d o n I O in n h u . d o u h u res lt g Swell rg s r lly ice . wi t r g o t an d b th e o du io n o f ha a re a kn o d d to b e o m o f th n , y pr ct w t c wle ge s e e ﬁ est

in th u n he ha s d m o n a d ha h a v n Swells e co try, e str te t t e y wi d c an su ccess T h o f fu lly b e u sed alike fo r reeds a n d fin es . e s test sto p in th e n e w Yo rk Mi n o an Wa k the E ho D u a n a —a m h n au i ster rg ( l er) , c lci ere w isper, i d ble a t the k u n a b o u u i i n in a n d a o Of x u i i eys less s l te q et is re g g , st p e q s te qua lity — f u in hi a ctu ally speaks o n a pressu re o a b o t 8 s . T s pressu re wa s req u ired fo r the o h a d a n d H a m o n F u o n the o o o a n rc estr l ree s r ic l tes S l rg , an d, f r th u ian h fo wa s m o d a o o e a . It a fa ha h t ere re, e pl ye ls D lc is ct t t t e m o st o m n m o d n v o fin d ha o n a in d u f c pete t er icers , t t , w press re O m o derate n h i t is o ib to O b a n a n m n o f o n a n m stre g t , p ss le t i g re ter refi e e t t e d pro ptitude o f h ha n o n a lo w u . H a v n d u m o d speec , t press re e y wi press re is e pl ye ,

h fo to u fin m n n o t n o i . I n o du n h h n t ere re, sec re re e e t, se pr ci g ig o tes o f the u m o d i a o a a n d fo m o n n d n u m n o n an t st el c cy, v c lists per r ers wi i str e ts c st tly ” m in hi h i n d u e plo y a n exceed g ly g w press re . V wh in 1 1 xh b a m M. a u c a n so n o d o in n o u F a . , , 74 , e i ite st g e i s l g eo let a n a u o m a o n a u a d ha th e m u o f the h f pl yi g t t , c lc l te t t scles c est o a h u m a n a had to m ak a n ffo u v a n to fift -Si x ou n d in pl yer e e rt eq i le t y p s, o rder to o du the h h n o h a a S n o u n f f pr ce ig est tes ; w ere s , i gle ce s u ficed or the lo wer n ‘ o tes . i

2 p. 3.

’ It is i n a cc o rdan c e wi h e x e ie n c e s uc h a s hi s ha t C a v a i le- o l ﬁr v 1 t p r t , t l C l st di ide d his re e d a n d h arm o nic -ﬂ ue sou n db oa ds e m o in in c re ase d wi n d re ssu e f r , r , pl y g p r o the tre bl e f u h O s c stops. N P 1 6 D IC TIONAR Y o r O R GA STO S . 5

O n e Of the g rea test a dv an ces i n the to n al a spect o f m o dern o rga n

b u ildi n g has b een due to the m o re scien tific adaptatio n o f wi n d press ures . 1 - - in . n d We n o lo n g er fin d u p to date b u ilders v o icin g en tire o rg an s o n 2 ? wi a n d v n th n v n n o u h ab o u ab u d u se o f u o f e e e co e tio al, th g s l tely s r , press res a d d h 2 in . in . o e u h S h v a a n as a in . s c lig t ri tio Gre t , Swell 3 , C ir ; , is reg r t the n h . I n d d a with less co m pla cen cy than wa s hitherto t e ca se ee , prese t ti m e the tru th is gradu ally gain i n g g rou n d that su ch a sm all differen tia tion hav ad m a d the i n . S I a o f press u re is scarcely wo rth eff ect g A e lre y re rke , s b o x a a s a k n d of b an o n the o n a n d u n d n ab u n well cts i wet l ket t e, e —i ly r i s a ll i a l w i n Th o n wa to m d h a n d a o d o u v o . e el c te, press re ci g ly y re e y t is ls “ ” the disa dv an tages O f a n o rg an situa ted in an o rg a n ch a m b er o r c o ffin to m h v u Wi h the x o n of the d o the e plo y ea ier press re . t e cepti ree w rk, a v erag e Swell o rg an is little b etter tha n the Old Echo o rg a n fro m which i t wa s o n a v I t has o n u v b n ho n i n the a rigi lly de elo ped. c cl si ely ee s w , c se o f d o k b Wi H o - o n an d o h ha a hi o n u ree w r y llis, pe J es t ers , t t t ck t g e is n f I n o d to a hi a lo e pro du ctiv e Of the fi n est qu a lity o to n e . r er set t ck

n u n o v a i n h n u n a . H a v n d to g e i t ibr t o , eavy wi d press re is ecess ry e y wi pres u h fo h a o u d fo r o m o in o in the b is m a n s re, t ere re, w ilst ls se pr t g p wer tre le, i ly r h u l h n u a n t t R d em plo yed fo t e pu rpo se o f secu rin g q a ity rather t a q i y . ee o h ou d b e fu a n d m o o h h o u ho u an d the hu m an v o an d st ps s l ll s t t r g t, (like ice o h a b a ho u d if o b b o f i n the b a a n d h o u adu a rc estr l r ss) s l p ssi le e s t ss , s ld gr lly n d to n a in o a s the i h Ye t o h m o n h h te i cre se p wer p tc t er testi y, w ic m a b e u o d i n u o O f h i o n n io n is fu n i h d b a o m a i o n y q te s pp rt t s c te t , r s e y c p r s

f the o m Ha m o n u as v o i d b av a i e- o o n i n o r i O Tr pette r iq e ce y C ll C ll 7 . 8 n .

b a . I t b f u n in d o n . u P a i h a a u e o d ha i n w ly (St S lpice, ris) w t re l T will t t m n n th fo m o i u i i so e i sta ces e r er st p s q te equal n po wer to a 1 5 in . Tu b a i n W n Th e av a i e- o o m H a m n v o ced o illis li es . C ll C ll Tr pette r o iqu e is “ “ ” m a u m o f f on b o n fo r all o h to ado erely Tr pet ree t e, l w it is w rt ( pt a

c o o u a m . R u a in o n m a be b u t e t n ll q i lis ) eg l r t e it y , y it is e tirely dev o id ” o f b o d n fo r in a n the im n a t the A b H y, wit ess , st ce, spec e s l ert all,

h f d a n d o n H a Man h . The u b a o n the o h han S e ﬁel , T w ll, c ester T , t er d, i s ha a iz d b a fu n a n d u o f o n fo r the c r cter e y g re t l ess p rity t e, produ ctio n

o f h h the u u u n dfu . It a n n o n d d b w ic s rpl s press re is ee l c t, i ee , e to o “ o n u d ha u n hi h k ua i in d n str gly rg e t t less t s t ic q l ty is evi e ce, the sto p

n t a u u b a b ut m a m a n d u m . is o tr e T , erely g iﬁe Tr pet F r a o n h h b e a a n to all n a to th o re s s w ic will pp re t , it is esse ti l e s u ccess

O f a u b a ha b e o f ha m o n u u . U n so o n u T t t it r ic str ct re less c stit ted, the b h b e a in in u a o r d i n o b the b a tre le will eit er l ck g q lity eclipse p wer y ss , o r in a i o a m o d d d b o h fau w b e in d n rec pr c lly iﬁe egree t lts ill evi e ce . At ’ S t. Pau a h d a D o m u ba No h a h d a i 1 n . l s C t e r l ( e T ) ; rwic C t e r l ( 5 win d, N o m a n B a d a n d Ein i d n Mo n a z an d r e r ) , s e el stery, Swit erl (Swell H o rn o n

’ ’ I bza . 22 . , p 1 P 66 D ICTIONAR Y o r O RGAN STO S .

1 2 n W t b fo u n d o the b Of h h are i . n d are o e wi , eigle) st ps, tre le pipes w ic In a of n h The ub a o m im n o d in a b o x . triple le gt . T is s et es e cl se swell n o n -reson an t b u ildi ng there is n o do u bt b u t tha t the practice is co ndu civ e to h are o o d n an o f n o d u b a at g rea ter efﬁcien cy. T ere g i st ces e cl se T s

W B n P a h hu h No m an B a d . . A ban H o bo n u o St l , l r ( illis) ; rt ris C rc ( r e r ) Th h a ho in the to e pipes of the Tu ba are of i n verted co n ical s pe, t se p o av n The are n ow Of n ct e b ei g o cca sio n ally su rm ou n ted b y a b ell . pipes te ” m ad of th e h k a u n a n m a f d to u n d D a a o n . e t ic , speci l, pl ed et l re erre er i p s In Germ an y the n am e Tub a is gi v en to a po werful Tru m pet a s well as to sto ps vo iced after the Willis pa ttern (as b y tahlh W t S uth an d a fe w o h . I , eig le t ers) is n ow g en erally adm itted that Tu ba s ho u d do m n a the o an af the s l i te rg , ter “ a n ho alogy Of the o rchestral b ra ss . T se a cqu a in ted with th e im po sin g effect o f the a Wi u b a h D o u b u b a l rge llis T , wit le T n u ba n ha m o n i O f o u a d T Clario ( r c, c rse) u d in fu l o an n o the b a n se l rg , will tice rilli cy m a d b the u b a a o n the f i p rte y T Cl ri , per ect bl ﬁ n ish a n d ba l a n ce it adds to the e n se m e . Wh n b o h a n n a ffo d the D o u b e t c o t b e r ed, le u b a o f o u f a b to the u b a T is , c rse, pre er le T

D LE-T N U E D RE ED a o n . G Cl ri See OU B O , U BA MI N OR U BA S ON O RA an d i u a T , T , ll str n n R EE S a da —Th e fo o win ti o s u der D . ll g are the m ea s u rem en ts Of the Tu b a Mira b ilis at N o rwich Cathedra l (N o rm a n — i B a d i n . . . n . To e r ) CC, 7 ; T C , ; p in F o m n o to F ha 1 C . , 4% . r te r C s rp ( 3 n o tes abo v e) the pipes are O f do u b le F o m G to to the u b are len g th . r p C t es — o f triple len g th ih o rga n - b u ildi n g phrase “ ” o lo gy an o ctav e an d a ﬁfth lo n ger than t n h he o te t ey g ive . — u ft. An o av u b a nu T b a . C l a r i o n 4 ct e T (g ) .

A MA G A n a BA MA OR B N U . TU Mag u s gre t . See T J

A M A — i h 1 TU B J O R u b a Ma n a Lat Ma o a . E T g . ( . ) j r gre ter t er ( ) D o u b T u a d o a u b a b o r 2 a n 8 ft. u b a o f fu a a n le , ( ) T ll sc le p wer, T i i M rab lis . I n the la tter sen se the n a m e Tu b a Ma g n a is a pplied to a reed at ’ . av i i o u o a h u h S o u h a k L . St S i r s C lleg te C rc , t w r ( ew s)

1 D I TI N AR r R N 68 C O Y o O GA STOPS .

— f A d at K o n b a h d a T u s s in I 6 t. ree igs erg C t e r l

T — f w e l f t h 2 § t.

A m u a io n o h d at the n a o f a f h ab o u n o n . t t st p, pitc e i terv l twel t ve the is Its fu n o n b o o b o a in h m o an n a u a ha m o n to b n d cti , y c rr r t g t is i p rt t t r l r ic, is i h F f t It u u a m a o f D a a o n . e i teen th to th e P ri n cipal . is s lly de i p s pipes

Fo r the o din a a o m an m n a u a o f a hu o an a F u ft. r ry cc p i e t l s ge c rch rg , l te 4 is certa i n ly o f g rea ter u tility than th e Twelfth ; i n the reb u ilding o f o ld o an o n o n o m a n th e a o h fo f u n m o d rg s ec ic l li es l tter st p is , t ere re, req e tly re ve to m a h f u a fo r the n io n of the fo m . B o o o o u d ke pl ce i sert r er t , c rse, w l n o m a in n The D a a n f h r lly b e i n clu ded i n a n e w stru m e t . i p so Twel t is cu sto m a rily sca led o n e pipe less than the co rrespo n di n g pipe o f the Octav e

r P n Ab th f h O f n o n u d f m h n . o ri cipa l . ro ad e Twel t is te c str cte o Ge s o r pipes - H AR MON IC TO P P E D TWE L PTII R AU S C H U I N T U IN T . See S , Q , Q

Tym pa n i dru m s .

m n n o du d i n o m dia a o an an d are n o t Dru s were freq ue tly i tr ce t e ev l rg s, n u n kn o wn in m o dern co n cert i n stru m e ts .

U .

Ma s a 8 ft. n da a e . U n d a . M a r i s U w ve ; re

h ﬂa t o r ha an d h b a u d to u n du a k A sto p tu n ed slig tly s rp, t ere y c se l te li e The n a m was o i n a i d to u n du a in o th e Vo ix Cele ste . e r gi lly restr cte l t g st ps

a n d th e o wa s he a G d k o r a n o n F u o f o o d o f Fl u te to n e, st p eit r e ec t pe l te w

' o w in E n a n d a n d o m i m i n G m a n U n da Ma o r m etal . N gl , s et es er y, ris is

b M . B n Fo . i h e . . i n o an d syn o n ym o u s w t Céleste, g , rg s y essrs ri ley ster

F n h b u i d M. P u o f o u o u th e U n da As m ade b y s o m e re c l ers get, T l se) , w o f h o n o u n d u in tatOn ha a Ma ris is pro du ced b y t o pipes slig tly pr ce Q c r cter,

M . N m a n in ff . E LE ST I N A. o pu lsa tin g t o getherwith pleas g e ect See C essrs r f m m - a 81 B ea rd h av e O b ta in ed m o st cha rm in g effects ro s all scaled Z ub er

a an d u n d the n am o f U n da Ma i I I a n to b a o h ﬂ u tes , rr g e er e r s r ks , e t t g et er,

u n d ﬂ at the o h ha . Th a re n an a t N o i h o n e b ein g t e , t er s rp ere i st ces rw c

a W. o m a n 81 B a . h d a h i hu h Lan a G , N d Ca t e r l, C r st C rc , c ster te ( r e r ) See R A a lso B I FA .

A x u a n to S u b. U NTE R u n der . preﬁ eq iv le t — z u t o r a . a . Ge r. n to U N T E R S A TZ U n terb ss ( ) Set e set, p pl ce See

- S U B B OU R D ON . DICTIONAR OF ORGAN T P 1 6 Y S O S . 9

— B Va rito no (Sp ) aryton .

VE N T IL . A va lve co n tro lling the passag e of wi n d to any particular departm en t o r

grou p o f sto ps . H avin g c ut off the wi n d su pply to certai n sto ps by m ea n s of su h a o n v an i s n at the O f c c tri ce, it evide tly ption o the perfo rm er to prepa re an a u a o m b na o n Of u h o as h m n n h y p rtic l r c i ti s c st ps e ay desire, bri g i g t em n o o a o n b m an of n at th h v n l i t per ti y e s the ve til e desired m om en t . T is e ti

co n tro l is n o rm ally em ployed in Fran ce . One Of the m ai n o bjectio n s to ’ the system rests in the fact that it i m po ses a con stan t tax o n the player s m —a ad ufﬁ n o b u n n c m e o ry lre y s cie tly ver rde ed. It likewise i v o lv es a o n

side rabl e a m o u n o f h an d a on . The En h m d n n t registr ti glis syste , ispe si g , n u a d an d n d a o o m an u a on b m a n with ve tils , sec res r pi i ic t ry st p ip l ti y e s o f

n th e o n n n an d o m im in Am r a the o m b n a pisto n s . O C ti e t, s et es e ic , c i tio n to h o the o d na o a o n ou t f a n di a n piston s serv e t r w r i ry st p cti o g e r, i c ti g this Th b y rem a in in g i n when o n ce pressed. e m o ve m en t o f a specia l n eg ative or release pisto n (see AUS LOSER) o n ce ag a in restores the actio n o f the stop h m ho v is a d b n d a d i kn ob s o r keys . T is syste , we er, r pi ly ei g isc r ed n Am erica in fa vo u r Of the En glish m etho d o f so arranging the pisto n s a s to ’ “ ” - - - h o n ob . Mr. H o o n o h a n d M . thro w o u t t e st p k s pe J es St p switc , essrs ’ “ ” Hill 81 So n s Ven til-switch are rea lly v en tils in the sen se tha t they c u t

' i u n f o m the o a on hu n ab n a o m b in a o Oﬂ th e el ectr c c rre t r st p cti , t s e li g c ti n ’ f ha n an Mr. a Of sto ps to b e prepared b e o re d d switched o n at desire . C sso n s i o a a o f v n l h adm n of two or m o e Man u al H elp s als v riety e ti switc , itti g r n n departm en ts o f the o rgan b eing co tro lled by one m a ua l . — VI B R AT O See TREMU LAN T.

— V h o t e . Viej o s A Span ish sto p. iej s eyebro ws The S to p is said to derive its n a m e fro m the shape of the cov er or plug ’ f th Ham on a h m o f the a n Fo at the top o e pipe . ( ilt s C tec is Org rm er

organ at Seville Cathedral .

— Wi V i rﬂ t . n n a 8 ft. ft. VI E N NA F L U T E W e ne o e e ie n . 4

' Loc h er rem a rks that the n am e Wie n e rﬂ o te lacks all histo rical an di

FLAU TO R AVER S O. e tym o logica l fo u ndation . See T

- —f Vig e s s im a q ua rta Twen ty ou rth.

- n -n n h Vig e s s im a no n a Twe ty i t .

- n - n Vig e s s im a s e c un da Twe ty seco d.

- n - F Vig e s s ima s e x ta Twe ty sixth . ou nd in an cien t Italian an o rg s . 1 0 D I I A F 7 CT ON R Y O ORGAN S TOP S .

— Vi Vi v n r wL t. u a Vi u la P o V i o l Fr. an d Ge . o Lo a d a ( ) le ( ) t l , ; ( r e c l) V n V o a f o m the a m o u a s Old H h G m a n i la ; (It. ) i l ; r s e s rce ( ig er ) V V F Fi de l D u h e de le En F dd . u a idu la ; (Ge r. ) e ; ( tc ) ( g ) i le it l is Vitu lari to a a f h n b o m d d f o m Lat. a y s e erive r ( ) le p like c l , w e ce, “ ” h x o n th m e r s n e cdorlz. to b e m . c t e e dd . p y , erry f e pressi erry ﬁ ler A n i f r a f v m a a a n ge er c n am e o G m b a s o ery s ll sc le d keen to n e . See ’

G AMB A VIOLE D R C HES TR E VIO LE OU RD I N E . , O , S

— V F r V n V i o l a For descriptio n see I OLA DA GAMBA. o io la a d V M o n a o a A BA. C tr i l , see G — f V V Fo r d v a io n o o a I L. Y i o l a d a . G a m b a eri t i l , see O

w Lat. a n d It. Gam ba a le c am b ado a a o f 8 ft. Lo . ( ) g , f g , c se

leather fo rm erly em plo yed to g u a rd the le g o f tho se o n ho rseba ck. T n l Th n a m fo r a m b a . he a o d m m a a e co rrect e G l tter w r erely e s e g , th h n th r m V io la da Ga m b a b ein g e ﬁddle eld b etwee e legs . Ou syste Of m in o o so n x a b a o n o m a io n ha fo r the n sto p ter l gy is i e tric le c g l er t t t, prese t, we are co m pelled to s an ction even so grea t a n a n om a ly as Stri n g Gam b a M strin g le g 1 See GA BA.

— V Ix V i o l e C é l e s t e See o CELESTE . ’ R M O U Am v . f E D A t. V I O L o r lo e 8 ft. ; 4 P a a d n i a i h E ho Ga m b a b u t o m m a h r ctic lly i e t c l w t c , s eti es slig tly

- s ha rp to n ed D u lcian a .

’ ’ —Vi r r i V i o l e d O r c h e s t r e o la d O c h e stra . Fo der v atio n V VI O L fo r o n a io a 1 6 ft. AMBA f r V see ; C tr l , see G o Octave io l MB TTE ft. G A E . 4 , see

’ V d O h is a Ga m b a o f m a The o a . hu h i le rc estre very s ll sc le T s , w ereas

th e i o f a in Gam b a m h m a u i n . in d a m the CC p pe Str g ig t e s re 3% i eter, ’ V rc he stre h as b n m ad so m a v n as I i T io le d O ee e s ll e e CC TS; n . he ’ n n M h V o d OrCh e stre was d b M . 81 h n n b n i le i ve te y essrs ic ell T y e, ﬁrst ei g i n co rpo rated in their ﬁn e i n stru m en t fo r the In ven tio n s Exhib itio n o f in k u A 1 Mr. n 1 8 8 d in 8 8 b b b . The a h n a 5, erecte 7 Tew es ry ey l te T y e,

l a b i m a d a a o f the a m n o f m a - a v o icer o f si n g u ar lity, e speci lity tre t e t s ll sc led H is V o ha a iz d b a d a a n d re ﬁn e stri n g sto ps . i ls were c r cter e y r re elic cy n e u a o h o f m a k in the fa ha m e n t o f to n e . O pec li rity, w rt y re r , rests ct t t he s o m eti m es treated them i n Su ch a m an n er as to lea d them alm o st to i n o f the o m a FL m erg e i n to Flu te to n e in the u pper p o rt o c p ss (see AU T ’ L The of th e Vio d Orc he stre are u ua o n u d o f H E MIO ) . pipes le s lly c str cte h a re o f i n d i a fo m u ua o d a n d tin o r spo tted m etal . T ey cyl r c l r , s lly sl tte , “ ” in n d u n n d . The f a i o f s o f u tu n ed b y m ea n s o f t e t i g sli es r g il ty pipe s ch m n n d x d n ia a du in s m a ll sca le an d n ice adj ust e t re ers e pe ie t spec l c re r g tu n i n g The m o u h are o v id d i h o B EAR D li o perati o n s . t s pr e w t r llers (see ) , the p o m a th e n k n i s ﬁn e a n d the b . I n o n a o o i s c u t sharp, ic i g re s ll v ici g , g d

1 2 D I I R 7 CT ON A Y OF O RGAN S TO P S .

’ du e m o d a o n o f o an d o a m n the Vio d OrC he stre c o m er ti p wer pr per tre t e t, le b n w h o h of o a n d to the e n se m ble o f the a u a m an u al i es well it t er s t st ps, p rtic l r o n h h it m a ha n to b e o a d o n ib u b i h n hou u n d w ic y ppe l c te , c tr tes r g t ess wit t e a b o m n n E x i n o m m a n to m o d n n o n sir le pr i e ce . cept o is s eti es t ke er stri g t e, ’ a n d to the V o d rCh Stre i n a u a o n the o ha a k the fa u i le O e p rtic l r, sc re t t it l c s c lty “ o f b n d n h h An d v n ho u d b a n o du io n le i g wit o t er sto ps . e e s l its re i tr ct n o th e o a n u d n b e o a d the a n a o n o m m s i t rg g r gi g ly t ler te , str g e sserti is s eti e n u d ha the o o n u a o a d an d a a ve t re , t t st p is id eo s so lely to rigidly is l te sep r te u a a a f o m I n th fa f the id ad n odu io n s g e p rt r o ther st o ps . e ce o w espre i tr ct o f su ch to n es an d the en co m iu m s besto wed o n them by the m o st pro m in en t o f m o d n o an i u h a n a t i u d m a a u d b e i n o d as m er rg sts , s c t t e y ss re ly g re erely

da n a n d u - ha n d d a u . I n u h the o bl e n d is o n a n t pe tic ltr p ristic tr t , w rd c st ly le in a - f a n o o m an n . n th in a l fa h n o o very l se er O e ord ry o d s io ed type rg , perhaps o n e o f the m o st pleasin g co m bi n a ti o n s is that o f Ga m b a a n d ’ o d Dia a r o n . m a o n th e m o d n o a n the V o d Orc he st e St ppe p s Si il rly er rg , i le

8 ft. h the L b i h d k f u f n ff f o n id G 8 t. o d v o a o wit ie l c e ec t , is pr cti e e ect c s er ab b a Th n le e u ty. e rem a rkab ly sa tisfa cto ry n a tu re o f su ch co m bi n a tio s depen ds s o lely a n d en tirely o n the fa ct that there is n o so rt o r shado w o f b n d. The o m bin d o a n d o ut in m a d o n a a h o ff n le c e st ps st rke c tr st , e c eri g to the o h a b a o u n d th e m o f o n a o u n o f u t er ckg r , re per ect cc t its tter d i ' m a i . I n u h n a n o f o u the o eom bzn e ff v . iss il r ty s c i st ces, c rse, st ps e ecti ely The a sso cia tio n o f a n o ld-fa shi o n ed Diapa so n with a Gam b a o f si m ila r d io n is n a a n d d b u o f a a n fu n n u o u escript , ge er lly tte e y res lts p i lly i co gr s n a u h in is d n h a n i h t re, w ere isti g u is b le e t er b len d n o r agreea ble co m b in a tio n . O n the o ther h a n d a Dia paso n a n d a Prin cipal sh o u ld displ ay su ch a h o m og en o u s co hesi on o f to n e as m a y a ccu ra tely b e ch a ra cteriz ed as g o o d

b n d. Mr. c u r ho . E o n a d n u i h d o a n on n oisse a le T s llist , isti g s e rg , ptly “ re m a rks in his excellen t han db o ok : Sto p co m b in ati on s are in reality ” o b m in a u pr le s co stics . Ye t a n o ther i m peachm en t so m eti m es lo dged agai n st m o dern stri n g n Th a m b o n m a b e t o e is tha t it rapidly beco m es weariso m e . e s e o jecti y

u r d at a a n all o h o o f o v o n a i u a d . g e will g i st t er st ps p siti e t e, p rt c l rly ree s Dissen tien ts so co n stan tly fail to recog n iz e tha t their opprobg iu m a pplies

Usn m n o n i o/l zt a busus . m erely to the a bu se o f certa in speciﬁc effects . I n ﬁn e o h a ff re m u lan ts Vo x H u m an a ai b oo e n u s , rc estr l e ects, Célestes , T , s, g f h f B n a n d Z n om n e r h a a i ff an d as P o . Lo o , a e c r cter stic e ects, , r s c er er e, ell er

V n a n b af m h n m o d a fu an d h du e s a n o f ien se si ly ﬁr , w e e pl ye t ste lly wit re tr i t, a d ha ve a C la im to recog n itio n fro m a n artistic sta n dpo in t . Gl ly reco g n iz in a s fo r m u ha ff o f hi n a u are u a ia b g, we per ce st, t t e ects t s t re pec li rly l le h a a bn /u to exaggera tio n a n d to u n wa rran ted i n tru sio n as t e st ple p m o f a n v o u n a i it to b e f a d ha n o hin is a i ha n to a n o rg l t r es , is e re t t t g e s er t e r b e b o n as a cheap n o tab ility or n o to riety (as the ca se m ay ) y p si g pu rist in i an h the o k o f A u a a u a n . . B . m a tters artistic . s perﬁci l cq t ce wit w r s J S D I TI N AR F R AN 1 C O Y O O G STOPS . 73 n o t o m n u h an a a an n du n a u d o a d M n d ( itti g the ch rc c t t s) , i lge t ttit e t w r s e el sso h n a n n t t h at th e , ve eer o f fro g ou an d an a rtistica lly repressed s udder “ b a e u m n o n o f a an d lo ! the u o m . hi n s re e ti Céleste, g ise is c plete T s g is n o t u n co m m o n (as the text-b ooks say) ! The u pper n o tes o f the Vio le ’ d Orc he stre do n o t i n div idually resem ble the Vio lin to the sam e

x n as h n u d in Cho d a n d i n n u n o n i h the e te t w e se r s, co j cti w t Céle ste “ ” h o n the ff o f v in N or n d d hi a t ey c vey e ect di ided str gs . i ee is t s m a o f u o n id n ho w n n the a o f e x tter s rprise, c s eri g i ﬁ ite v riety o n o r ti m bre hi h a o n Ch k th o n o f the b o w d pressi , w c l e ec s e t e e f i n n It is stri n g ro m b eco m n g stride t a d wea riso m e to the e a r. this fa cility o f expressio n i n the o rchestra which ra ises an in su r m o u n ab ba b n ir an d the o an an d h h o h t le rrier etwee rg , w ic , t g et er with the palpa b le im perfectio n s o f m an y o rchestral in stru m en ts a n i at the b a i of ha au o ha o u a m n Cl ri et) , l es s s t t t cep l s tre t e t

f so - a d o h a o a n o h a n - O c lle rc estr l rg st ps, w ereby u ltra realistic an d servile resem b lan ce to their i n stru m en tal pro to types is o f set

u u dia d. a o WELL B x A a fo r th p rpo se rep te (See ls S o ) . sc le e ’ Vi o le d Orc he stre s u ccessfu lly em plo yed in so m e o f the H o pe 9 1 i n b a T t ih — n an : . . Mid. i h o o O . . J es rg s is CC g ( re) , ﬁ , C 1 5 ,

m o u h c u t u a b a an d rolle re d. g t , p re s, — S R I N E Mu d V o . Lat S u du u b du V IO LE O U D te i l ( . ) r s s ed V a o I L. f . o r qu iet (hen ce also dea f ) . See ls O 8 t

i o n a v o f m u d n wa s n o du d Th s st p, represe t ti e te stri g s, i tr ce ’ h th e V o d rc h e stre n a n d Z au b e rﬂ te b co n j o in tly wit i le O (a ) , O y

- Mi h 81 h n n i n 1 88 . It is . a i n o n d o Messrs . c ell T y e 5 str g t e st p, ’ r f a an d u n V o d Orc he st e o d b du d o . m ade like th e i le , elic te s e t e Mr h n n x at k Ex am ples v o iced b y the late . T y e e ist Tew esbu ry ’ ’ Ka h in o n v n u n u a W. B a 81 Ab bey ; St . t er e s C e t, Q ee s Sq re, ( e le - Mu V o m h n n e c . The H o on Of d fo d T y e) , t pe J es type te i l is r e

u u a o f tin a n a s h a n d. It had o n o f pipes, s lly , t peri g t ey sce its rigi “ i n a n attem pt to su ppress a slight spit Often atten da n t o n the The o n a i m n speech o f Vio ls o f v ery s m all scale . rig i l spec e s were

W h H o - o n a n o f Mu W. h . T e d Mr . vo iced . J iteley pe J es p tter te h n o a d o n e o f the m o b au fu o n Vio l , w e c rrectly tre te , is st e ti l t es d o u n ho u v n n the l a co n ceivable. It is elici sly stri gy, wit t e i ci g e st T Mu V u n o r h o n ua . he d o m a tra ce o f ro gh ess r y q lity te i le y, “ ” b e a d to odu the b o o m o f the a i o na in deed, s i repr ce l S l ci l “ h It a n c a to with o u t the b o dy o f t e sto p . is sc rcely e ess ry o bserve that the sa tisfa cto ry treatm en t o f so delicate a sto p n the a o f the o an d dem ands very co n siderab le skill o p rt v icer,

fu han d n du n u n n o a o n . o m o n when m ade, ca re l li g ri g t i g per ti s Cr pt B o o n Ro ham on P a h hu h H o - o n B u on Fo ld, lt e pt ris C rc ( pe J es) rt 1 D ICTIO N AR OF ORGAN T P 74 Y S O S .

Pa h hu h No m a n 81 B a d a n d H o - o n Wa a ris C rc ( r e r , pe J es) rwick C stle ; Lo u h n - M b n b o o u Pa h hu I a m H o o n 81 o . o u g r gh ris C rch ( gr , pe J es C ) el r e o n H I n S ca les —Va o us a ha b n u d fo r T w a ll ( gra m 81 Co . ) ri sc les ve ee se 1 h i n i n . has o 1 in . at b o o m . at to m o u h. t is st p . CC , tt , 5 p, 1; t CC, ’ a o b n u . t m a h V r h s r ls ee sed I is treated si il rly to t e io le d O c e t e . — V An o av o . Vi o l e tte 4 ft. ct e i l

V IO L I —V V f u a n t V o N o in o n o . 8 ft. t. E o a. i l e, i li ; 4 q iv le t i l

V i — f E I E N P R IN IP AL o l i n D i a p a s o n 8 t. See G G C .

V i o l n l l V o o n o d m n u o f V o o n 8 ft. o c e o i l cell is i i tive i l e,

- As a m n u V m It a fu o n r. a al sto p the io lo n cello is rarely e t with . is ll t e a m a m r It o u m f u n o n th G b ad o f h m a o o d. , e eit er et l wo cc rs o re req e tly e P da o a n n d d a fe w a a o th e o was u o m a n o du d e l rg i ee , ye rs g st p c st rily i tr ce h a N v h to a s t e d 8 ft. o . a m d ab ﬁrst pe l st p e ert eless , it sc rcely see s esir le h Vi o h - Th V n o i n se rt t e o lo n cello pri o r t t e so called B a ss Flu te . e io lo cell “ ” “ ” a dd a n d b i to a P da o a n in to u a o b s grip te e l rg , serv g ﬁll p p ssi le l a u n a r a n a a n th m a n ua n h a o o d c o g p b etwee the ped l d e l to e . T ere is g ' Ma i im n m ad Of o o d at . P a h hu h N o n ham spec e , e w , St ry s r s C rc , tti g V b . i h o u u a a d d A o o n o b Mr. i ( Bisho p) . T is st p is s lly e r e l cell y Lew s

m a u i n a t . e s red 4 . CC

— V a n r. V o n . Fo r A o u n V i o l o n e ( Fr. d Ge ) io l c stic io lo e see f V A O ST I AS I V m n a io a . 1 f . t au o 6 t. C U C B S ( . ) iolo n e is g e t tive l

Th Vio o n is o m m f n m an u a do ub v a ou v o e l e s eti es o u d as a l le, ri sly iced as a D ou b Dia a o n o n a am b a o r a h b d o m id a b n le p s , C tr G , y ri st p w y etwee Vi o n i m a - a d o n u th e two . The da o s a fa o d o pe l l e irly s ll sc le st p, c str cte f I n n m h m o f D wo o d o r m eta l. to e it gen erally partakes u c re o ia pa so n “ ” - u a li h an the so Ca d P da n D a a o n o od. a n in q ty t lle e l Ope i p s , w Cert i ly a

- iz d o a n f ab t th a o its -de ﬁn d n m oderate s e rg it is pre er le o e l tter st p , well e to e ff f h At h len din g rich n ess a n d ﬁrm n ess to th e aggreg ate e ect o t e o rgan . t e im th Vio o n is o d as a n - o n d o sa m e t e e l e c rrectly describ e stri g t e st p, g o od “ speci m en s displayi n g the b ite which chara cteriz es the o rchestra l Do u ble T h hi h r n a d d n fo r h B a . e a e o w n a b d d ss pipes , w c ge er lly e r e , epe t eir h n t r It ha h h effect v ery m u c o n their e ou ag e . is well t t t ey s o uld b e — H n hu z a o d d a m oo m . S ca le s S t. P d i n cc r e ple r eter, i ley (Sc l e) , CCC, 5% .

ua . Alkm u n d D b L 6 in . dia m z n . sq re ; St , er y ( ewis) , CCC , eter ( i c)

VI L N EL E T E —S f O O S C S S t.

The n am h s n B a 81 h n n an e a b ee a pplied by Messrs . e le T y e d by W Wh h r. . to t ﬂ f I a n ﬂat an d ha V M J , iteley e at ran k o a I r k ( s rp) io le

Céleste. There is n o adequate reaso n why su ch ra n ks sho u ld n o t sim ply

b e d b d a s ﬂat o r ha . u h m n o o m o o a ha escri e s rp S c ter i l gy is re pr s ic per ps, n fu b u t less co sing .

1 6 DICTIONAR O F OR GAN ST P 7 Y O S . them has to b e en la rg ed to an ex ten t tendin g to m arr the sa tis fa cto ry ff f he u n u o n A a a f a u m h f h e ect O t d lati . re lly s tis acto ry Céleste is tri p O t e

m a . h n o o a oad t u n o a an o f a m n e piric l T ere is r y l r o s ccess, rc e secret tre t e t. A ha i ndub ab m o ff a n a ﬂa t b a on s rp Céleste is it ly re e ective th Céleste, y re s Of a an m a on a ho u h it a tt au f a n d du - on its gre ter i ti , lt g is p o c se so t ll t ed st ops,

the d to o u n d a h ﬁa t b o n a . Mo m o d n like Ge eckt, s r t er y c tr st st er Célestes are u n d ha the o n ua o f o m d m an d n a d ff n a o n t e s rp, t e q lity s e e i g gre ter i ere ti ti

f h ha n ha o f o The o d na h . - O pitc t t t thers. r i ry Céleste s o u ld be u sed i n o m na o n i h o h o f o o n the a a n n It c an c bi ti w t t er s t st ps r rest o cc sio s o ly .

o m m be d a n h a ft. o or a Du a n a o r o f G d bu t s eti es r w wit 4 st p, lci , s t e eckt, the ff h n the d o dan an is u n du o v m a h e ect, w e isc r t r k ly er tc ed, yet n ot s is Th uffi n o to b e o o d o l x u ia n . e a a s cie tly verp were , p sitive y e cr c ti g ggreg te effect an d g en era l u tility of the sto p has b een con spicu o u sly en han ced by the n odu o n o f the two an the di o d b in div d d b o n i tr cti r k Céleste, sc r e g i e y e n S ha an d o h ﬂa t t the u n o n h The ran k beati g rp, the t er , o is pitc . o rchestral strings owe m u ch of their viva city to the fact that so m e a re a lways a trifl e

ha o h a flat to n a h . In h m a b e fo un som e s rp, t ers trifle , the ce tr l pitc t is y d r h o an The o d d h o i a b a f r analogy fo t e rg Céleste. first rec r e t e ret c l sis o “ su ch a schem e o ccu rs a pparen tly i n a paper on Va ri atio n s o f Pitch i n Mr d a o of n o am b id u b h B a b . l , , , d i n e ts, y Se ley T y r Tri ity C llege C r ge p lis e

' ' e P lzzl oso l uea l Ma a z in e u The m wa s fi a m p g , J ly, sche e rst c rried Th n w Mr. ho . a n e a as a o ad d Mr . o H in to effect by T s C sso pl ls pte by . ope o n who has f u z d so o n u d i n his o an the J es, reely tili e Célestes c str cte rg s, t an in o m n an b n fu h u n d the on o o f the o n ﬂa r k, s e i st ces, ei g rt er er c tr l sec d

h DOU BLE OUCH . A h a n h a ﬂat u n o n tou c (see T ) t ree r k Céleste (s rp, , is ) ’ n f th n f a u in odu d i n o the o an a t a lso fo rm ed o e o e ovel e t res tr ce t rg St . P a u l s M Wi h a s n a on u d b the a r. H n i n 1 0 1 Cat edral, ﬁ lly rec str cte y l te e ry llis , 9 . No t o n ly is the gen eral effect of th e Céleste so v astly im pro v ed by this a n n o f the di o d b ut the o c an i n add on m o x n b la ci g sc r , st p , iti , re e te sively

an a o u be to o m b n a on a u se . S o u i o n a nd adv t g e sly set c i ti l s per r, i deed, m the ﬂat an d ha ha it m a b e u to the older syste , is s rp Céleste t t y j stly i ho u n u n the ha o f u n du do m a i m ha n o a asserted, w t t i c rri g c rg e e g t s , t t l rg e i It io u m odern o rga n is co m plete witho u t t. will b e Obv s tha t the effects in ha a a o in as the a ou an a re m c an b e varied c r cter, cc rd g v ri s r ks co bin ed. h d o dan an m a b e u d a lon e h th e u n i o n Thu s eit er isc r t r k y se wit s stop , or r h The m o an m a d ff tog ether with o witho u t t e latter . st i te e ect is secu red the on u n m o m n o f all h o o d d h a the u a in by c j ct e pl y e t t ree st ps , pr vi e t t p ls t g n f m th n a h I n a d i Céleste ranks do o t deviate widely ro e ce tr l pitc . dit o n to n V o a a n u m n u a d u s u o i n the kee i le Céleste, l rge i str e t sit te ; let s pp se, a fav u ab o i m h o m a b u ildi ng of o r le acoustica l pr pert es, ig t well c prise n o ther B n o u in diff n b ox th e fo m variety of Céleste. y e cl s re ere t swell es r er type

- C . . 6 6 . N O. CCX pp 5 4 D I I 1 CT ON ARY OF O RGAN STO PS . 7 7 m ight gradu ally b e m erged like a so rt o f to n al disso lv i ng view in to a m o a fu Vo x An i a an d ha v n n o an U n da Ma re pe ce l g el c , t t e e i t ris th e m a b M m a n WE o m a n B a . u d S LL type de y essrs . N r e rd (See re rks er ’ B o x an d VI D i u a o n n OLE O RCHESTRE) . The Vo ix Céleste s su lly c ti u ed do n to w te n o r C o n ly. Its e xten sio n to Gam u t G wo u ld certai n ly seem m o d a b n d d in th e a o f the flat an d ha a the fin e st esir le ; i ee , c se s rp v riety, v ibra to effects re n dered po ssible by a clo ser a pproxim atio n o f the ran ks to th e n a h a s h d n m a b e a t u f ha a d n ce tr l pitc t ey esce d, y s id o j sti y w t d itio al x n o u d b e n v v d in n n h An e pe se w l i o l e re deri g t eir co m pa ss co m plete. ff i m n s d x . h n Wa n h W o a a t d o S . . e ect ve speci e tre te e ists St Step e , sw rt , W ’ h . In h a u a o a n a o th e b o f the Vio rc he stre ( iteley) t is p rtic l r rg , ls , tre le le d O ’ is so pro m in e n tly dev elo ped a n d so in flu en ced b y the Swell e resee éza o tha t o n o n n the l ou v res th e ff o f an a dd io n a V o akin o n a pe i g e ect it l i l , spe g m o di a a hm n at n u A V n el c tt c e t (o n ) is O ce s gg ested. io le Céleste exte n di g wa s n Mr m n t B to al o o du d b . o o a n ham No . a o CC s i tr ce y C pt i g , tts (See ls L I ‘ I C E ES N A) .

V o i x H u m a i n e Vo x H u m an a .

Lu m n u x u m n Vo ix Lu m i n e u s e i e l i o us . i An o ld Fren ch n a m e fo r the Vo ix Céleste . Po ss bly it h as referen ce “ to the hi n n h o n o f an a n n o u n in the a h a h i m a s i g t r g gels c g rc etyp l C r st s Day.

Y x A n e l i c VO IX Cé LESTE . Vo x v o o g a See ice, m n h n a n An u a . g el s esse g er, e ce gel

The n a m Vo x An a is a o o m im a i d to an E ho D u ian a e g elic ls s et es ppl e c lc , h a m b a n o t di o da n i n i h I n n i n m h o r Ec o G sc r t p tc . a c e t ti es t e Vo x f V x H u m n i n n a wa s a ft. i o o a a d b Ra z o f M An g elic 4 spec es , ve te y t u l i n m a - au n . I n G m a n s a a a d d i h hin o n u h se er y it ge er lly s ll sc le ree , w t t t g es, V m V rese m b li n g i n to n e the o x H um a n a . Fo r erly the n a m e o x Coelestis h V x An wa s u sed in terchangea bly wit o g elica . Adlu ng trea ts o f o n e serio u s

m a i in in o n n o n h the Vo x An i a h ha m n n a e ” pro b le r s g c ecti wit g el c wit c r i g n/ tc .

v n di n a h d the i u he n d ha n o h h in is H a i g lige tly se rc e Scr pt res, ﬁ s t t w ere t ere it reco rded tha t a celesti a l m essen ger ev er a ppea red to m a n in the g u ise o f

o r a o m a n . A o d n he o n ud a h a n u n fle dg e d b oy w cc r i g ly, c cl es, it is ltoget er Ope n to qu estio n whether o n e is j ustified in represen ti n g a ng els with treb le F n a a a h o f n i a o n th e id a u t all . o to hi v o ices a i lly, like fl s i sp r ti , e cc rs m ’ th a t there is n o su ch thi n g as a n a n g el s v o ice a s disti n ct fro m tha t o f a ’ h u n a n in f A lu n s m a h h u m a n b ei n g . T is q ai t re so g o d g y per aps be c o m

It is said tha t se v e ral c le rgym e n i n Am e rica obje c te d to the re pre se n tatio ns o f fe m ale

s fo m in or i on o f the de c o a i ve sc he m e in co n n e c i on i h a ne w An ic n a n g e l , r g p t r t t w t g l a f co n s ruc io n in ha c o un o n the roun d ha f m a Ca the dral i n pro ce ss o t t t t try, g t t e le ang e ls are

r f rre d to in the Bib e . The a rchi e c it se e m s fo hwi h sa isﬁe d the ob e c to rs n o wh e re e e l t t, , rt t t j u H e r r by o ffe ri ng to e ndo w the g ood la die s with hirs te a ppe n dag e s. e su e ly was an

r e o r e R. Sim s ! Ope n ing fo r M . G g 1 78 DICTION AR Y OF OR GAN STOPS .

m en ded to the n o tice o f Sir Edward Elg a r in co n n ecti o n with the D rea m of

’ e r f h i v h is a v a o G on tzus / As m an y o u s n ev ert eless bel e e, t ere ery re l es teric “ h ” tru th en shrin ed withi n the ex pressio n the ha rm o n y o f the sp eres . — VO X C CE L E S TIS See Vo i x Cé LE STE .

Fo m or a n at a h d a . Vo x C o n tra lto o n a o Vo . C tr lt ice r er g g Seville C t e r l

l li n . San i Lat. F e bi s Vo x Fle b ilis Vo ce Fleb le . ( ) weepi g

d o M an . Vi Va B n a o n i F o 1 0 . A an tto re, rese ( er sc igli , 9 5) St less r , il

Vo z H u m an . Y o x H u m a n a . Vo i x H u m a in e ; (Sp. ) e

ft a 1 6 ft. V x v u m n u s h u m a n . 8 . Lat. o o H a ( ) ice, ; r rely ;

ft. Vo x AN GE LICA Vo x VIR GI N A. an d 4 See , A d o i h m a u o d to be m a ree st p, w t et l pipes, s pp se i it tive f th m i Th i are m ad i h b o d o e h u an v o ce . e p pes e w t ies

to 2 ft. in . in m ea su rin g a t CC va riou sly fro m I O in . 3 h ar in a i n ha R E ED an d len gth . T ey e cyl dric l s pe (see L R I Th e o n o f th e Vo x H u m a n a is h n a n d C A N ET) . t e t i “ k ha m a b e n a a Mr. R o b o n in d d m a s l ; erts , ee , re r s t t it y ’ an h n f o m P u n h u a to the b a n o f a n a n n yt i g , r c s sq e k le ti g y “ a D r B u n in his o u in G m a n a n d the go t . . r ey T r er y akin o f th b a d o a n a t H aa m N spe g e cele r te rg rle , m akes the fo llo wi n g a m u sin g co m m e n ts o n the specim e n in ha an a n o n Vo x H u m a n a i n n a It do t t o rg , d s ge er l es

n t a t all m a h u m a n v h o u h a v o o d o rese ble o ice, t g ery g sto p o f the ki n d b u t the wo rld is v ery apt to b e i m po sed Th v in an m m n h a is o u po n by n a m es . e ery st t a co o e rer t ld that a n orga n ist is pla yi n g u po n a st o p which resem bles th e hu m a n o he u o to b e v ﬁn e an d n v v ice, s pp ses it ery , e er i n qu ires i n to the pro priety o f th e n a m e o r the exa ctn ess o f im f ll th th a on . Ho v I m u o n ha f a e e it ti we er, st c ess t t , o sto ps I hav e ye t hea rd which hav e b een hon o u red b y th e a o n o f Vox H u m an a n o o n e in th e b a ha s a ppell ti , tre le p rt ev er ye t rem in ded m e o f an ythi n g h u m an so m u ch as o f th a k d v o o f a n o ld om a n o f n in o r in th e cr c e ice w ety, e ” a f P n h n n h o u h a o m lo west p rts o u c si gi g t r g c b . The to n gu es o f this H aarlem exam ple a re v ery wide a t the e n d a n d th e u i are h a d ik ho o f the , pper p pes s pe l e t se o r An ai i h a n add o n a ho n d a h m n C gl s , w t iti l s rt cyli ric l c i ey

n th to . The S o too o fu a n d to th e au h o o e p t p is p wer l, t r ’ han a hu m a n its effect wa s m o re like tha t o f a Cello t v o ice . AS a m a o f fa a n d a hi n m o h d o n th e i fo m o f tter ct , gr te t , s t ere t e , prec se r ’ ’ ’ h a i a im m a a . In d d th e m ain a eszo e ra tu m a s u t e pipe is pr ct c lly teri l ee , is b

V l I I . 0 . o . , p 3 3

1 8 0 D ICTIO N AR Y o r O R GAN STO P S .

a o n i i n f m u A Ma k H a m to n e rrac e n d a o o a . t . r te , c siste t ev t , te per t re St r , il T , Lo n do n Wa the Vo x H u m an a a d u in the o o f n d two c o n ( lker) , is pl ce p r i si e

n a o a d b o x on e b ox i n d o f a a o n e . o ce tric lly l c te swell es, swell si e l rger St ps

i h h o - n h u h as the Vo x H u m a na O h a Obo or w t s rt le gt pipes , s c , rc estr l e

a n are v ab to e t o u t f u n R EE D an d LAR I NET . The Cl ri et, ery li le g o t e (see C ) Vox H u m an a so u n ds at its best when u n der the i n ﬂu en ce o f a Trem u lan t or V b a o o f It u a fa a to u o ( i r t ) delicate a n d rapid pu lsa ti o n . is q ite ll cy s pp se that the Vox H u m a n a so co n sta n tly ﬁ n ds a pla ce i n the o rgan m erely o n

' a u n f h n o o o b n t h hu m a n . n t e o a cc t its p ssi le like ess o t e vo ice O c tr ry,

fo m a ti m bre - It av a ab it r s crea ting sto p o f n o in co n siderable va lu e . is il le a s a n ff v a o m a n m n a b a u n t S o f v a o u k n d a n d e ecti e cc p i e t l ckg ro d o to ps ri s i s , o m b in h F u i f h th e o . N d to a ha n v o c es well wit l te st ps ee less dd t t, iew t is, practice o f perm an en tly co n n ecti n g a Trem u lan t to the Vo x H u m an a is n o t a d a b o n e t ho u d a n o a n be o f esir le o b e ado pted a s a preceden t . S l rg s u fﬁcien t di m en sio n s to i n clu de a S o lo depart m e n t equ ipped with en clo sed

F u the Vo x Hu m a n a f n a n h l tes , will pro b ab ly b e o u d m o re service ble o t is m a n u a han in m a o l t its o re cu sto m a ry po si tio n in the Swell o rg an . See ls ’ m a k u n d R E M Th au h m a re r s er T U LANT a n d VI O LE D OR C HE STR E . e t o r y claim the extrem ely ra re ex perien ce o f ha vi ng heard (at the fa cto ry o f

Mr. G n a D ou b Vo x H u m an a I ts o n was x m ﬁn e er ) le pipe . t e e tre ely , resem bli n g a Vo x H u m a n a m in gled with a s o rt o f so ft B ou rdo n a cco m pa n im en t . Su gg estio n s ha v e fro m ti m e to tim e b een pu t fo rwa rd tha t in the co n stru ction o f the Vo x H u m an a sto p s o m e a ttem pt m ight b e m ade to m a th e u u f th v a h The o u o m o f u h an i it te str ct re o e o c l c o rds . tc e s c a ttem pt wo uld certa i n ly b e o f such delica cy a s to pro scrib e its u se in the M K a z n i i o a n . . n ho n a m a a h ha f th t rg r t e ste , w se e is sso ci ted w t t t o e Ab

Vo i n the in o du io n o f f d n o th e o a n wo n a z Off d gler tr ct ree ree s i t rg , pri e ere

b th e St. P b u I m ia A a d m o f n in 1 fo r a n y eters rg per l c e y Scie ces, 779, n u i n o the n a u o f the v o ou n d a n d the o n u on f a n e q iry t t re wel s s , c str cti o n u m n f r i H f u n ha wa i str e t o artiﬁc ally i m itati n g them . e o d t t it s po ssible to di in o du the v o o u n d b m an o f d u m o un d st ctly repr ce wel s s y e s ree s s r te , * a b i o f the o m h u a d. I n the a o f the o I sever lly, y p pes f r ere ill str te c se v wel , h o w v the d was di n d h the n d b n m l n o th e e er, ree spe se wit , wi ei g si ply e d i t i p pe.

I n ca se a n re ade r sho u d de si e to e x e rim e n in this dire c ion hi m se f it m a b e y l r p t t l , y a dde d ha the succ e ss o f the e ffe c de e n ds la r e o n the tre a m e n o f the ton u t t t p g ly t t g e . A o r An lais i v i Wi h a i C g p pe som e tim e s gi e s n the u ppe r n o te s a disti nc t E so u n d. t l ttle i n e n u i t i t o u ld n o doub b e o ssib l e to o b ai n ui e a o e rab e v oc al re re se n a i o n g y, w , t, p t q t t l l p t t ’ o f the v ario us in m a te s o f N oah s Ark . The o a n a e ad b o as s a B r fe ife a Kalb r rg lr y t a p , e

Re a a Bo c kschwe b u n a Cu cko o a N i h ti n a le a n d a V x Hu m an a . A skilful g l , g , , g g , o m o diﬁc atio n o f the U so u n d wo uld pe rha ps re su lt in the a Cc essi o n o f the Vo x Fe lina ’ i . e . a s v o ic e to the ra n k s . ( , C t ) DI TI R R N 1 8 1 C ONA Y o r O GA STOP S .

A E l 0

M. K m n o f Vi n n a a o u d d i n o n u n an a a a u e pele , e , ls s ccee e c str cti g pp r t s fu n h d h a m ou h - an d a n o m f t ti b h h r is e wit t piece, se, ade o wo n tu es w ic o m m u n i a d i h th m u h Wh n h h c c te w t e o t . e bo t tu bes were Open an d t e m o u h - o d the o n o n an M was o u n n h n n was t piece cl se , c s t s ded, a d w e o e

c o d the o n o n an N . Ev n a l se c s t e tu lly M. Kem pelen was ab le to pro du ce

n o d an d n n u h as e zfou s a im e de tout m on ewu r e tire w r s se te ces , s c j , Con sta n ti n o ol zls R om a n oru m i m e ra tor se m e r Au u stus E x loita tion p , p p g , p , e tc. F n h o n u n a o n o u d o f o u n d i f m o a t re c pr ci ti w l , c rse, le tsel re re dily o a i a m a o n . Fo r a fu d i io n f h m h n h rt ﬁci l i it ti ller escr pt O t is ac i e, t e reader ’ “ s h ou ld co n su lt Sir David Brewster s Letters to Sir Walter Scott o n W a Mr. f i Na u a M . o am b d u u n a f m x m t r l gic illis , C r g e, p rs i g o r er e peri en t

o f M. K m n o b ain d m e pele , t e so e very i u a n in n H e e m c u r o s d teresti g resu lts . pl o yed a reed an d fu n n el shaped ca v ity h i B n like tha t s o wn n the ﬁg ure . y slidi g a fla t co v er o v er the top he fou n d he c o u ld pro du ce the who le series o f v o wel W I n a n o h x m n Mr. so u n ds . t er e peri e t illis ﬁtted to the reed cylin drical b o dies with

S lidin g telesco pe j o in ts . B rewster su m “ m a riz e s the resu lts a s fo llo ws When the tu b e was greatly less tha n the n h o f a o d i n u n o n h the d o u n d d I an d b le gt st ppe pipe is wit ree , it s e , y a n h n h of th e u b it a v E A O a n d U i n u i n cre si g t e le g t t e g e , , , , s ccessio n . B t h a was v u n x d h n the u b was so m u h n h n u w t ery e pecte , w e t e c le g t e ed a s to b e 1 m the n h o f a o d i in un i o n h the d }1 ti es le g t st ppe p pe s wit ree , the o b an to b e a a n o u n d d in an n d o d U 0 A E v wels eg g i s e i verte r er, , , , , h n a ain i n a d o d I E A O U h n ‘ the n o f th an d t e g irect r er, , , , , , w e le gth e h f a o d i n u n o n h h w u a to i a o t e d. tu b e as eq l tw ce t t st ppe pipe is , wit ree

Vo x In a udita

h . I Vo x l n e ﬁ a b ilis I nau ditu s u n eard ( Lat. ) n e ffabilis

u n u ab n x b . tter le, i e pressi le A fa o u a an n du d i n b o m m d ae a or an b u i d ceti s ple s try i lg e y s e e i v l g l ers . The sto ps so n a m ed exten ded n o further than du m m y sto p ha n dles ! S ycopha n tic o rga n b u ilders take n o te ! 18 2 DI TIONAR o r OR N T C Y GA S OPS .

—8 i Vo x Mys tical t. A sto p b eari n g this n a m e o ccu rs i n the Echo o rg an in the Colsto n H a B o o an N m an B a d The o n h was ll, rist l, rg ( or e r , t e, w ich ’ i n nd d to n Mada m la a B u v o ha f a a ful te e represe t C r tt s ice, is t t o r ther l

o n d E ho Vo x H um ana . i e S r se m ble or An h t e c The p p e C glais pipes, wit a o in th u n d o f ha ar i f e d b l , a e l nd al n ot o sl t er si e the e l s ve t t they cy i r c , i n -c n ha verted o ical s pe. — V . P u b u u x a . o P ua ri Vo x Ta uri ( L t ) er oy ; Ta r s b u ll . At ari r n a u n a h two n a m C g a Ch rch , Ge o , t ese es con stitu ted the " “ ” n f n um u Sopra o an d B asso o o e stop . The h o ro s side of the a an m n o u n ot so m u h in o lf h in all ro rr ge e t cc rs , c the st p itse , whic p b a bilit was m a v a i o f Vox H u m an a as i n th na iv y erely r ety , e e idea o f ’ ’ o a n a n g r u pi ng together b oys d b u lls voices s cog ate . It is scarcely co m plim en tary to Italian cho irm asters .

- o f on . Vo x Re tu s a Re tu s u s du ll . A s t t ed Gedeckt I n the m iddle ag es the adjectiv e refusa s was s o m etim es u sed to

d n a o d . Lu n d a h d a d n . esig te st ppe p ipes C t e r l, Swe e

— R N Vo x S te lla ru m See CYMBALSTE . — Vo x Ta uri See Vox P UER I .

Vin o lat v a d Vo x Vin o lata Vin ole n tu s drun ken . ( a is ery b

n La ti ) .

- o n f a n o n a on . Lun d a h d a A sm a ll scaled Gem sh r o we k i t ti C t e r l , w he o am to v so x ao d n a a n a m n o t Sweden . H o t st p c e recei e e tr r i ry e is V t a Vox Hu m an a . o m m n n on the Vo x in olata kn o wn . I t is n o C e ti g ,

' th e Edito rs o f Tne Org a n i st a nd Clzozrm aste r pro pou n ded th e delig htfu l i n i n su ggestion tha t it m ight well be u til z ed a s a sto ck o bject lesso ” Tem peran ce H all o rgan s .

i i n ft. Vo x Virg i n a Virg o a v rg . 4

a o Vox AN GELICA. An o ctave Vox H u m an a . See ls

W .

La t b a Silv e stri s Fr. F u W a l d ﬁ at e Fe ldﬂo te . ( ) Ti i ; ( ) l te W A n li a? Wa d F u . Ge r. a d o od F d Cham p . g l l te ( ) l w , el

Fr ham d Lat. . of a o od o r ﬁeld ; ( . ) C p ﬁel ; ( ) Silvester w

a b oad o a ona 2 ft. 8 ft. ft. fo rest . 4 r cc si lly a It was n o du d A woo d Flute o f rectan gu lar fo rm an d l rge scale . i tr ce h th e WaldﬂOte a W H in 18 1 . In 8 ft. Mr . in this co u n try by . ill 4 pitc is W to b e fou n d in n a l all o f h n u m n speciality o f Messrs . alker, e r y t eir i str e ts

- It was fo m on n b u ilt within th e la st twen ty ﬁv e or thirty years . r erly c ti u ed

F R A 18 4 D ICTIONARY O O G N STOPS .

“ f n o a a f u ff oo ua b n o m an it requ e tly p ssesses r ther l y, w lly q lity, y e s a o n n h m o d prepo ssessi ng . On the very rare o cc si s o which it is t ere e pl ye

a a n d ha o n . i n a 2 ft. h o f la pitc , it is rge sc le s rp t e

H R N—F d n o no di a o n o W A LD O el ho r , C r Ca cci , C r ett i a a o r de ha o n Pa fo d C cci , C C sse, C r e r rce, Wa d o o Fe ld o n v Ge r. d C r e Syl estre . ( ) l w , ha ﬁeld Pa rfo rcej agd h u n ti ng ; ( Fr. ) C sse ha a n n to a o od u c se, Sylvestre pert i i g w , r stic ;

o n o di a Hun n H o n . (It. ) C r C ccia ti g r

These n a m es ha ve refere n ce to the a n cien t hu n ti ng

o n . The o n o di a a as an o an o o m h r C r C cci , rg st p, is s e m u a n to a Wh n f 2 i h h ti es eq iv le t Cl ri n et . e o ft. p tc t e Wa d o n was d n i a h the WaldﬂOte a n d u ual l h r i e t c l wit , s ly h f f h n n n h h Wa h so w en o a 4 t. pitc . I u iso pitc t e ld orn

was a d m i a v o f the hun n o n . In ree , i t ti e ti g h r the m u seu m at Kelso are preserved two specim en s o f the n hu n ti ng ho rn . O e o f them m easu res i n diam eter } 1 6 in s. x n a 1 in s . n na m a u m n a n }1 e ter l, 45 i ter l, e s re e t, d “ in s . a o th b A o o n n in N cr ss e ell . c rresp de t o tes ” an d u . 8 th 1888 u th e in fo m Q eries (Sep , ) s pplies r ati on that such ho rn s were a lways worn by the h u n tsm en at

- — - . G m a n e n L a a s a as 18 8 K on b St er i ye l te 57 5 , igs erg a h d a 1 2 0 Lu n d a h d a ed n o n C t e r l ( 7 ) C t e r l, Sw e (t g u es

o f G m an i v . The na m Wa d o n a o a er s l er) e, l h r , is ls pplied Mr hn H m b . o . o on o f N o n ham to a y J C pt , tti g , sto p

n i I - o f his i ven t o n . t is a very po werfu l free to n ed

D oub d m b in in u a the Do u b E n le ree , rese l g q lity le g lish H o n hou h m o o fu h n h r , t g re p wer l t a t a t sto p . It is o n u d to a n u m ly s ite l rg e i str en ts . See a lso the sa m e ’ b u d FR E N C H H OR il er s N .

‘ i nﬂ e —W d n f We de o t f . S e e ALIC IONA ei e p ei e S L.

’ W e i g l e s P a t e n t P i p e s —See STEN TO R P HON an d SE RAPHON E I , R G STER .

it fe ife W d b a d We o . 8 p eit wi e, r ft. ;

4 ft. 2 ft.

Wa dho n Co m to n - l r ( p ) . A a a d F u n on m ou i h B lo c l rge sc le l te, sy y s w t kfl Ote .

— IE N NA FLU T W I E N E R FL O TE See V E .

W h K a n u n Wo hl kl a n g o l well ; l g so d.

h H a m o A n a m e s o m eti m es given to t e r n ika . D I TI NAR F R AN P 1 8 C O Y O O G STO S . 5

Z .

Z A R TFL OT E—An lice Z artfl u t r a g e . (Ge ) Z rt n d d i a . 8 ft. ft. te er , el c te 4 Acco rdin g to Seidel the ZartflOte wa s the i n v e n n f w him o o . u a n as n o du d b ti T T rley , d first i tr ce y n th a n W w n o e o at . Ma m a . It as a i t rg St ry, is r

8 ft. o o d i of n a o a in on a h b d w p pe rr w sc le, t e y ri

n a F . F AS n o w m a d in b etwee lu te an d a u ga ra . e this cou n try an d i n Germ a n y the Za rtflOte is a - i sm all sca led Flu te o f bright to n e . It s co n stru cted l o f either wo o d o r m etal . In En g an d it is ge n erally h h n h fo u n d o n t e Swell o r C o ir o rg an a d o f 4 ft. pitc

B n Fo . in o rg an s b y Messrs . ri dley ster)

o m im th e Zartﬂo te a s u d b M . B a 8: S et es , se y essrs e le

W. hi w a P h m n . W h n n a d Mr. as on e u a . T y e J teley,

H a m o n k Z a u b e r ﬂ at e r ic Gedec t .

au b m a . (Ge r. ) Z er gic ’ “ N am ed a fter Moz art s celebrated o pera Die ” The Zau b e rflOte was n v n d b Zau b e rflOte . i e te y M h an d h n n an d n o du d Messrs . ic ell T y e, first i tr ce

' i n to their o rg a n for the In v en tio n s E xhib itio n o f wsk u r Ab b in 1 8 I 1 88 d i n Te b 8 . t 5, erecte y ey 7 m o f o d o f h a m o n i stru c is co po sed st ppe pipe s , r c h m n i tu re i n the treble . These ar o ic p pes o v erb lo w a a th e f h to their ﬁrst u pper p rti l ( twel t ) . The n h o f u h h fo h actu al le g t s c pipes, t ere re, is t ree i Th n tim es tha t o f a n o rdin ary sto pped p pe . e to e id a n d u rﬂ te is fu i u . I t o f th e Zau b e O ll, l q p re s o m etim es has a s u spici o n o f strin gi n ess att ached w a f a u an d i n o m to it ; b ut this as e t re, s e respects '

Mr. h n n fa in Of m u h o f the a o . a il g , c l te T y e s w rk The Z au b e rﬂOte fu n ctio n s a dm irab ly as a Twelfth Th ( See H AR MON IC STOP PED TWE LFTH) . e har

n i . of u u h o v m o n ic Sto pped pri c ple str ct re is , we er, Zaub e rflo te . It n o t u n n o n i n the a n o n e wi n ven tio n . is k w c se (Thynn e . ) in old G m an o an an d in o f certa in Flu tes er rg s, u h a o n a m d G m an F u 1 S n e tz le r i n tro du ced s c st p , e er l te, 754, ’ M N m n t K n L n n . . o a B a d in to his o rgan a i g s y essrs r e r , h in u m n u n d h a re wh o for so m e tim e had t is str e t er t eir c re, o u n d n a m o f H a m o n produ ced the v a riety o f st p, er the e r ic ’ a h n o am b d n o ft. at . , Geda ckt 4 , St C t eri e s C llege C ri g e (CC te 1 86 D I TI C ON ARY O F O RGAN STOP S .

’ 2 i n . d am . S n e tz le rs o na f ft n F o m m id. % i eter) rigi l stop is o 8 . to e . r C u a d the are o f his fa o u h m n F u fo m ho u h o f pw r s pipes v rite C i ey l te r , t g , c o u f h m o a o n o n u o n . Th r rse, r ic c str cti e m o n ths a e a rched an d pro vided h o n a f r u n n u At m i i o o . the a 1 n . a m . wit l g e rs t i g p rp ses d. C sc le is % di eter B o h the o o m o d o f o d n a D n el w t is st p is c p se r i ry Sto pped iapas o pipes . T here are exa m ples o f the Zau b e rﬂOte at Tewksb u ry Abb ey (Michell ’ h n n Mr Ma in Whi . . ham b o an at Ba lrudde r n r. D u n d T y e) J rt te s C er rg y, ee ’ a o n - h n n b u - h n n b H o o n . Ka o n v ( C ss T y e, re ilt y pe J es) St t eri e s C e t, ’ W u n u a . B a h n n N o h a h N m an Q ee s Sq re, ( e le T y e) ; rwic C t edral ( o r

- B a d . o hn B k n h ad H o o n H o n a b o ou h e r ) ; St J , ir e e ( pe J es) ly Tri ity, Sc r r g

( De n m a n ) . — Z iﬂ o t See S I FFLOTE .

Z n k— in Z n Z n Z n k n u n k O o L i L u u n o i C k, i ke, i cke, i e , Z , rl , it ce, it s, Co r ett Mu o n n o n o o o o o o no . C r ett t , C r ett T rt , C r etti The Z in k was an an n n u m n o f the n o u f h h cie t i str e t Serpe t rder, b t o ig er ’ w s n u f h r - . n pitch I t a co str cted o eit er wo o d o deers ho rn . Co r etto Mu to

- a h f. Mutir a n d To rto were v rieties t ereo (Lat. ) e to spea k softly or

' m u tter To rqu e re to b en d o v er o r twist Litu u s a ki n d of croo ked

u m u n a h o u n d a a on Ada m . Th n m f h Tr pet tteri g s rill s , cl ri ( s) e a e o t is i Th s to p has n o co n n ect o n with the m etal z i n c . e latter do es n o t a ppea r to ha b e n m o d a s a m a a fo r o a n i u n i n 1 8 2 0 Ma x ve e e pl ye teri l rg p pes til, , r ,

O f B n b u a n o an at H oh n o f n h z n a n d a a - erli , ilt rg e e wit i c pipes c st iro n case ! Le t us hope an d tru st h e will n ever b e held ev en i n directly o n b fo r o m o f th e d v o m n o f his x m n a o n resp si le s e e el p e ts e peri e t l c ceptio n . f The o an o was a n a n a 8 ft. ft. 2 t. o n fo u n d u ua ; 4 ; rg st p s rli g Cl ri , s lly Th i o f n v o n the P edal o rga n . e p pes were i erted co n ica l sha pe a n d o f

h o n u b o ad a n d h n . I n m sm all sca le . T eir t g es were r t i so e o rg an s the

u a r o n . 2 f m n Z in k was a P edal Sesq ialter o C r et A t. speci e reed exists

v H aa m . t . Ba o n a St , rle

- Z d a f. D a f P e e P I CCOL . Z we rg pfe ife werg w r w r ipe . S O

D D E N D M A U .

‘ S i re n u m C ho rus Siren s Cho ru s . P B n a n i i lio u N th e ﬁrm o f o o F o v . 1 0 I n the o rg an by ietr er sc g , j st ( 9 5)

i n I a o u a o o f h n am . It is o b a b a o pen ed at Va rese, t ly, cc rs st p t is e pr ly ' ﬂ c t L t h O i Vo x H u m ana o r Flu te an d Trem ulan t e e . e u s pe t is n ot a Syre n s f d to b the o o f the o v n a n a ch o ru s o f the type re erre y rep rter pr i ci l ewsp per, “ wh o accredited Sir H u b ert P arry with a descripti v e wo rk en titled B lest

n I n th e am n u m n a a a o b a in the P air of Syre s . s e i str e t ppe rs st p e r g title “ ” n 8 ft. o n n n th e a f a u f E ufo n io P ietro B ernasco i , C cer i g speci l e t res o ’ n s n i s Eu ho n n o n fo m a o n o u h af d. Sig n o r Be r a c o p e, i r ti is v c s e

V A LAR 1 8 8 P HON ET IC P RON OU N C I N G OC B U Y.

F. A. ’ — - - - - w- FAGOTTO Fah bt ta AC OU STIC Ah kd stik . g j ’ ' ' — - - - - - — lﬁ Gl e t o rFIrI e o ié t. [E OLIN E -o h -lé Co n in n a ro FLAGE O LE r F , j E n. t e t l p j — - - - Com n un c ia i n A-o h -lEn - r r n o t FLAU TIN O F a h o o té n o . t o , e ( l

o u n d d) - - O s e m on ly Fla w té n . i ’ L — - - i — AN GE IC A Ah jgl kah . a h - c c - 6 FLAUTO Fl t . — ' ' ’ - — - - AN LAIs Ahn la lai r n i h rsou n de d . G g . FLo TE F e ter ( e t er ) S lig htly m o re o f the a s o u n d th an i rt is ex pressed b y i r (as i n ﬂ ) .

— - B ASS OON B ﬁs s do n . — B OMBARD E As in the v b t G. er , o

o m G o n ou nc e d ha rd th ou hou t . b b a rd. ( pr r g ) — BOU RDON Edo -do n n a i — ( , a . - r sp r te) GAMBA Gam b a h . U ua y Edo (as in oor -don s ll r p ) i - GED ACKT C dahkt. (n so un ded) . E I EN — I- G G C g e n .

GE MSHORN —Gem -h s o rn . — GR OSS Gro s. ’ E — a - C LESTE S lest .

’ C LAR AB ELLA Cli r-ah - l - b e l a h . i C LAR IB EL— a -E-b é ll Cl r . - - - H AU TBOIS H O b 0 ah . — ﬁr- -n C LAR IN ET Cl i é t. I

— - H AU TBO Ho b o . C LAR ION - n Y y o . ' — G F — H OH LFLbTE H Ie LOTE . C LAU SA Cldr r n o t o u n - see ( s ded) sah , ' — - - - HU MANA HG m t n a h . o r m ore Ro m a n o Cl h o ‘ ( ) a o s ah .

CONTR A Kdn - tra h . — C O RN OPE AN KOr- - é- n O a n . B ut ftc p J . ‘ u n y o n o u n d Ko r-n B- i a n ‘ q e tl pr ce p — e r o f a n d ﬁn a r JEU G ( g s t, l ﬁn a a b a s i n Ch am i ( l syll le on . p ) so un ded) .

D . K . — — D IAP ASON Di a h - é- z on . - w-lo- d p KERAU LOPHON Ker a f n . — ’ - - D I AP HON E D i ah f o n e .

— - D OLCE D dll C hé .

‘ D OPP EL D 8 - é l p p . — - é-b i h D U LCET D ri LIEBLICH L . ll set . l c — D U LCIAN D u -s E-ah -n ah a ll . — — D U RA D Grah .

MARIS—Ma a s in ca re -I s o r r re ( ) , (m o e - Rom a n o) Mah res . I e — - E UP HON E U f o n w - e . MU TED Mu té d. 18 P HON ETIC P R ON OU NC IN G VOCABULAR Y . 9

O .

‘ — — - i O BOE O-b o -a Co m m o n O-b o TIBIA b I a h . y. ly y. — Tl E R C E As in e rce . — —- ﬁ O P HICLEIDE Of Ykl i da . TR A — h -v ai -so VERso Tra r . — - - TR EMU LAN T Trgm GIan t.

P . TR — g - OMBA Tr m b a h . z - - — TROMBON E Tr6m 6n e . - - b P HON EUMA Fo n u m ah . I T B — E- — U A T b ah . - P HON ON Fo n on .

— é-kO-l h m m o n P I OLO P o . Co CC ly,

- - P i k O l oh .

P OSAU N E—PO-z dwn -n e r r n o t o u n d ( s U ND A—U n -dah or m ore Rom a n o , ( ) - O dwn . e d . Co m m on P z ) ly, - OOn dah .

V . e ' — ’ - - - — - U IN TAD EN A uin tah de n ah . i Q Q VIBRATo Vi b rah tGh . I U I NTATO N u i n -ta h -tdn ( a s L— ii d Q Q VIO V l . ii E P L T m . , o ) — - - F u ro VIOLA Vi ci l ah . req en tly p

é- - n oun c e d V Ol ah .

— O-a R VOIx V h . . — o r m ore Rom a n o Vo x . o Vox Vox , ( ) — - - R ESU LTANT Re z ul ta n t . L —Ro h Co m m o n ROr R OH R FLOTE r . ly

EST . (a s i n roa r) . S e e FL E

— FLo TE B u t WALD FLO TE Vahld; see . in E n g lan d th e w is g en erally in co rrectly ren dered m ore A n gi i ’ — al -i§ h -i-6a n a S om S ALICIONAL S , l e e a n o Wahid. ‘ - —- tim es S i lsh f O n al .

— - S ESQU IALTE RA S és-quE ﬁl -ter-ah

Z. trah ) .

- - S ON O RA SOn dr ah . — ZARTFLOTE T s art ; see FLo TE . — - or- h o — S TEN TOR P HON S ten t p n . ZAU B ER FLSTE Ts o w (as in Izow) ' ' b bEhr FLciI E . S HAB E S wa b . see R I B R 1 90 LIST O F S U BSC E S .

L IS T O F S U B S C RIB E RS TO FIRST E D IT IO N .

n S e v eral n a m es were rece iv ed too l ate for i nserti o .

’ w r ABBOTT S MIT H an Bui de Le e ds . BED WE LL H . A. Or an ist o f S t. Ed a d s , Org l rs, , , g ,

ri C am id . ADLER G . xb d e b e , , U g . r g

M. A . A ER B . Mu . . . B ELC H ER W. E . G UTT , , s . D . , F R C O , , ,

F. R . anis o f St. Asa h No rwo od. . C Org t p

AINSCOU GH H O a n Bui de P e s o n. Ca he d a . , . , rg l r, r t t r l

W R a n d BE N N ET . Mus. D . F. A ND REW . M. A. Ba ris e T G. , , r t r , J , , Mi n O r a n B uilde London . F. R. C . O . O anis o f Lin c o n s e . g r, . rg t l t r

EW WA R RE wYork Ci B E NSON G. O an B ui de r Ma n ch e s e . AN DR S . N Ne , J , ty, , , rg l , t r

B ER R Mus . B. a o . . . A T. G s U S . Y, , l g w

W EVA . r We lls AN D REWS I Or an Builde Bra dfo d. B N REV. E . C Tunb id e . , , g r, r , , g B EVI N GTON ONS Or a n B ui de s S , g l r ,

M. v RT H W. Li e oo . Lo n do n . ANS HWO , , rp l

A RMST RON G REV. CANON . Cas e o ck B EWE RU NGE REV. P ROF. H . Pro fe sso , J , tl r , , , r M o e d. of hUrc h Musi at a n oo h C e Ire la n C c y t ll g ,

ASHE R . D . Rh . Ire an d. , J , yl l

AS H LE G. R . B . A. F. Gld. 0 B I E R CK REV. . G F. A. Gld.O D e a n of Y, , , , J - - w c o e d. th P n . ha A ld B e t s e e n C e G . O . P hila t y pt r ,

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W i bo ou h . B I R n AUST IN . K n usto n e n C H . . Bi m i ham . J , , ll g r g , J J , r g . ‘ AUS I IN O RGAN Co . Ha r fo rd U . S . A. B I RD RE V. . . S . Ba th . , t , , J J , - - AVE R E . R . S ke o n i n C e v e B IS HOP G. A. Le ic e s e r. Y, , lt l . , , t ’ . B t. ohn s N e found an d B LO MLE W. olic i o r Todm o d A RE . S Y . S e n . Y , J , J , w l , J , t , r

AX E A. C . Yo rk . B L TH C . Richm on d ur e . , , Y , , , S r y B L H - -T O D ISON S ock o n on e e s . , . t t W O a n Pi e Man ufac u e and BON D F E BAILEY . . H DDON M. A . F R. , , rg p t r r , , , . C. O V Ma n c h s wo Co i e s. m i oi c e e e . T Lea n to n. Two o te r r, t r p g C p .

H . . Ho nse . B OOT F i ve o l BAK E R H G. L o . , J , r y , rp

W. H . Is e h . BOTW W D BAK E R o OOD . . D . SC . . O . S . P H . , , l w rt , C , , , D. ,

M. a w - BALFO U R . Gl s o . F. R. S . L. S ur e o n De n is Yo k , J , g g t t, r . E W Mu B B WD MB RI DG . S . s. . O LER C . M A BA . LL. D . Mu , , , , , . , , s. B . ,

Mar b o rou h Co e e . L. T. . L am e l g ll g C . , C b rle y.

ARC K HO FF C . O a n Bui de Po m e o B RAILSFORD MC W ki n B R. G. o ham , , rg l r, r y, , , g .

hio U . S . A. B REN NAN Mu s B O C. . . . F , , J , , .

BARKE R W. H . Bo w. Or a nis o f Be l , , g t fast Ca the

BAR NE S REV. I . P . B . A. Ba l c as e ra , , , l y tl

' Vic a ra e C o . An im I e and. B RENTN ALL H P re c e n o Mi i g , tr , r l , t r, l ta ry

BARKER F. U N . Thi sk. Church o k , , J , r , C r .

W. A . E xe xf d. B RI D B AR R e Co e e O o GE . . M A. Mus D x a C . . E m in e r , , t r ll g , r , J , , , BA RRE TT . B is o . i n Music t , J , r t l o the U n i v e rsitie s o f Lo n do n

BARTL E R . W. No ha m on . a nd D u ham O r n is f , , rt pt r , ga t o Che ste r

BATH W. E . Pl m o u h . Ca he dra , , y t t l.

ER B . A Lon don . B RIGGS W BA T . . Bos o n U . S . A. X , , J , t , BA T ER F. N . Mus. B BR I N D LE FOSTER O a n B ui d X , , Y , rg l e rs,

Te b u . She fﬁe t ry ld.

BEDWELL SO N S O an B ui de rs B RI N DLE F he fﬁ e ld. , rg l , Y, C. . S

m b id e . B RIS W C a TO B Har e oo l . r g , C . tl p

1 92 LIST OF SU BS CRIBERS .

d r Ha b o n e n n . HOLT . Re e d O r an Bui e , GORDON GOTCH , Lo do , J , g l , r r

Bi m in ha m . GOTT . H . C . E . B radfo d. , C , , r r g - de HOP E O N ES R. M. I . E . E . Or an Bui GRAHAM H . P . Le tonston e . J , g , , , y l r

s t S . A G RANT R . M O a n e N . U . S . A. Bo o n . U . . , r g , J W O a n Bui de r A on H ORN B W. Ma n ch e s e . GRATI AN . . , , J , rg l , lt , Y , t r HOU GH COUNCI LLO R R . U N . Bo on . , , J , lt

W e n ha m . HOWELLS R . , Ab e da re . G RA . To Y, A. , tt , r

- W . Wim b e do n . H WL I N G . H M. A. Be dfo d. O RA T . OL. G Y, L C . , r , , l fo rd H T. O r n Bui de B ad Mus. B . F. R . C . O UGH ES E. a GREGO R G . H . , , Y, , , , g l r r H UGH ES Mrss M H o an dPa rk Londo n . Bosto n , Lincs . , ll ,

G RI FF N TROU D Or an Bui de rs Ba h. S i x Co i es . E S , g l , t p

H N E Min tlan d N. B . GRI FFITH S . S o urb rid e U T R . B . , J , t g , J , ,

Me h HU NTE R W. D . Bri h on . GRI FFITH S R. E . S o l ic rto r , , , rt yr , , g t s HU SBAN D P . Char e rs To e s ue e n Tydﬁl . , , t w r , Q

R IN R D B R Or an Bui de r lan d. G D O , . g l , R hda oc le .

13 3 . E k N win o n . GRIND ROD . T . M. A . B ac k oo . 8 G . S o e e , J , . l p l , , t g t I N D A N x fo rd. GUT HRIE E. P . S a m fo d , M JOR F. . . , Iﬂi e , O , , t r , J y INGHAM Line s . , A. ,

D und a n d. alk, Ire l

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H ALL . C o do n . . G , r y - i IIALTON H . . t. I v e s Hun s . A KSON H O r a n Bui de r L n co n . , J , S , t J C , g l , l

W. Mus. D F. R . C . O . H AMI LTON C . F. O an Bui de s ACKSON . , , rg l r , J , J , ,

b u r Mac c le sﬁe ld. Edin gh . L.

W . O r an B ui de r ackso n H ARD . N . Mus . B . ACKSO N H Y, J , , J , . , g l , J

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H A RKER F. Co v e n r . Taun to n . , J t y

H ARRISON HARRIS ON O an B uilde s ERR ME H . A Lo n don . , rg r , J O ,

ndo n a n d Durham . wo N P . . Be dfo rd Lo T Copi es. JOHNSO , E , . ’

RR N T B o or w N N T. Mus . B . Bi m in ha m . H A ISO ish s orf d. T O , p St t o JOH S , , , r g

E Llandudn o . JON ES , . ,

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H ESLOP . R . O an B uilde London ENT N . B . e a Ya m o u h . wo , rg r, . K , Gr t r t T H E W Bi m in h m OOD . a . Y , J , r g Copie s

H IC KSON T . H . Birkda e . K ENTI SH G. C . A. S aun de rs fo o . , , l , , t

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H N . W I M . M TON . . A us. D . Au h Ho o a . , J , , t or ll w y “ ” “ of O r a n Con s ruc ion A Ca e KITS ELL E . F. Or a n Pi e M r g t t , t , g p ake , ” Chis m of the Or an . Wan ds wor g th. Lon do n .

M B . H I RST A. L . us. Eas a m s t d , , , t KN IGHT , H . , H p e a . Twicke n ham . E W. Y rk K NOWL S , J. , o .

H D E . Ilk s n . O G S , J , e to e T Mu F H OGGETT . . s . B. . R W. r a n B i e r . . W C O LANE E . O u d a ham , J , , , , g l , lt ,

L . T s . C. L Ma s . U . S . A. r i n Music Le e ds n iv - Le c u e U e rsi . LANGLE H . F. R. C. O S u b or i t r , ty Y, gan s t

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R A . Gou ro c k N . B . A . Birm i n ha m . OBB NEE D H AM, H . , g , , , - W RO B E RTS R . ME RI CK S u b Wa rde n o f I K F. . N EWR C , , , Y , the Guild o f O r a n is s Lo ndo n d. . S u n de rla n g t , ’ E W. A. Liv O RBU R . Tre asure of th e Ro a ROB RTS e o o . N Y , J , r y l , rp l “ - f an is s Au ho o f The ROB I NS ON A. . N e cast e o n T ne . Co lle g e o Org t , t r , J , w l y ’ ” - - N . Kis o Whis e s Lo ndo n . ROBI N SON . S ock on o n Te e s. t tl , , J , t t - N ORMAN BEARD O r a n Bui de s ROBS O N . H . O a n Bui de r She ﬂi e ld. , g l r , , J , rg l ,

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W r m b e r Ge rm a n . AI FE . . . a Y rk b u r te S C , G. A , A. Mus T . C . L , M ste r, o g , ii g , y

W LE . M a kha m . Mins te r Cho i r S c ho o . A . O l , J , W W k e lle r S he fﬁe ld. S CHWE IK H E R F. D e a n o f the Fa c ul o f ALK E R . Boo s , , ty , , , W r Music U n iv e rs it o f D e n v e Co lo rado ALTON . . Man c he s te . , y r, , J ,

W n N o s . W. . Ca o U . S . A . ARD S , , rlt , tt

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M Mus . D . Hu l . Co i r. S ITH G . H . e , , , l p - - W. Ba o in Fu n e ss . S MIT H . G. Lo u hb oro u h . WELFORD C . , J , g g , , rr w r

W . Eato n . S MITH W. E . in ca n o n WELLS E . H . Lo n , , t , , g

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W W . A R . A . M Tu n i t r. S TARMER . . b r d Che s e , , g e

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T E a n B uild r P a A H Ho v e . TIz ree Co ie r. S OLTz , , O rg e , ri s . WI LSO N , . . , p

D a t Tw i W W . an Bu i de r he fﬁe d TROU B h . o Co es . I N D E R . G O S . S , p , , rg l , l M r a tio n r a i WI NT ER L . G . Co o O n s S U EU R P . LE us . B . , , , , , p r g t, ’ O r a n is t o f t. o W r s e r. L . g S J hn s o ce t - Ca the dra N e wfo u n dlan d. WI NT E RBOTH AM A . Late S ub o r an is l , , g t ,

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TEGG IN A . E . Lon do n . WOO D MISS M. L. A. D o u as , , , , g l , W Mu s . B . r TE LFORD . H . O an Bui d r I M. , , , g l e , . O .

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U . S . A .

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O r an is Bos to n U . S . A. YE WEN G . D . S ra tford Londo n . g t, , , , t , W l R H . D . e in b o rou h Y RK MI NSTE R ORGAN LOFT . TU RN E , , l g g . O

THE S HEFFIELD DAILY TE LEGRA P H. “ s i on a l Mr. We dg wood de v o te s a n e n te rtai n i n g ch apte r to th e qua i n t s tops oc c a l y " fou n d i n l l E n g is h a n d Con ti n e n ta org a n s .

THE M US ICAL TIMES . “ An on e wh o d n f ro m the m e re titl e m i ht a s s u m e th at thi s Di c ti o n ar i s a y , ju g i g , g y dr te c hn i c a l n l s th a t i ts a e s are a s re a da bl e a s the a re b o ok , wo u l d s oo re a i e g y i n i n s t n c e d b the s a c e orm i n g . Th a t th e work h a s be e n thoroug hly on e m ay b e a y p de v d a e s ote d to m a i n s u b s . . Di a a s o n 12 a e s Mi xture 8 a e s Re e 6 je c t , e g , p , p g , , p g , , p g ,

T u b a a n d Vox Hu m an a e a c h 4 a e s a n d S we ll B ox 2 a e s . Re se a rc h to o i s , p , , p g , ’ e v ide n . s r i u n i n s ti a tio n s a re ro duc ti v e of n o t t Mr. We dg wood e u it o a d v e g p " a littl e h u m o u r a b ook wh ic h i s e xc e ll e n t i n e v e ry wa y.

THE MUS ICAL N EWS .

A v e r u s e f l - I s a thor i s we l l -kn o n as a n y u a n d e l a bo ra te ly g ot u v olu m e . t u w e n th u s i a s t i n or a n c o n s tru c ti on an d e h a s brou h t hi s wide kn o le d e to be ar i n g , g w g th e c o m i atio n o f th s I t i s c arri e d ou t i n th e m o s t th orou h m a n n e r : p l i work . g te c h n i c a l a s s write s with s o m u c h uc h a ta s k m u s t n e c e s s aril be Mr. We d ood y , gw hi s tori c a l ot kn o wle dg e a n d c riti c a l di s c e rn m e n t th a t e v e ry ag e i s of i n te re s t. N o n ly a re th e m e a s ure m e n ts a n d sc al e s gi ve n of th e m ultitu(pe of s te ps to b e fo u n d i n o l d a n d m ode rn or a n s bu t whe re n e c e s s ar the s e a re f ull ill u s tra te d wi th g , , y . y ' e x c e ll e n t dra wi n e d wood s g s th e m a s s of in form ation to be fou n d i n Mr. W g " us f l e u v ol u m e .

THE M US ICAL WORLD.

Mr. We d wo h s l n wn s n e arn s t a i n s ta ki n a n d th o r u h g od a on g b e e kn o a a e , p g o g i n v e s tig a tor i n a ll m a tte rs pe rta i n i n g to the c on s tru c ti on of org a n s a n d th e to duc ti o n of or a n to n n e d h s m e t b e re arde d a s o n f o u r l e a i n g e , a n d, i de . a co o g e o g auth oritie s o n i Th e re s e n t v ol u m e f urn i s h e s a bun da n t e vi de n ce of th e th s s ub j e c t. p th orou h n e s s wi th n rs on h i s re s e arc h e s a n d of th e de a re a thr h g whi c h h e e te up , wi ou g hi c h b e ursu e s I t i s n ot o n l a dic ti on ar in th e ordi n ar s e n s e of th e w p th e m . y y y ord i t c on ta i n s a l s o de scri tio n s of e v e r kn o wn or a n s to a n c i e n t a n d m ode rn w ; y g p, , to e th e r wi th art c n s tr ti n s c li n a n d v oi c i n a n b wh m g p i c u l a rs 0 o u c o , a g g ; d y o i n v e n te d i m r v More o v e r i n stan c e s of or an s a re ive n i n hi c h o e d a n d e rfe cte d. , p p , g g w th e diﬁe re n t v a ri e ti s e fo u n d s o th a t the b ook be c om e s v i r u al l a h i s r e m a y b . t y to y o f th e e v ol u ti o n n s t n re ar from a t n a l oi n f of o rg an c o tru c i o , g de d o p t o v i e w. Mr. We dg woo d h a vi n g v is i te d a n d e xam i n e d th e v ariou s i n stru m e n ts re fe rre d to b oth i n thi s c o u n tr a n d on th e Con ti n e n t i s we ll e n ti l e d to s e ak ith a u th orit y , t p w y u on th e s e m a t Ma n of th e s to s are tre a te d of at c on s ide rab l e l e n th : p te rs . y p — g de s criptio n s o f s u c h s tops a s th e di apa s on s with th os e m ode rn de v e l o pm e n ts of th e ' v oic e r s art—n a m e l th e di a h o n e s a n d Ti bi a s of v a ri ous form s—m i xture s re e ds a s y , p , a c l a s s a n d i n the ir n u m e ro u s v ari e tie s are i n th e n a ture of e xh au s ti v e e s s a s a n d , , y , c o n s titute v a l u a ble c on tri bu tion s to th e lite ra tu re of thi s i m portan t b ra n c h o f th e ' o r a n b uilde r s t. l m n ts a n d i n v n s s u h s th s g ar Mode rn de v e op e e ti on , c a o e o f Ho 9

J o n e s C a s s o n Co m to n o rm an e tc . to e th e r with th o s e of l e s s re c e n t , , p , N , , g date as B i l l B i sh o Willi s Ca v a ille-Col l a re m in u te l c are fu ll a n d h at i s m ore , p , , , y, y , , w , l u c idl de s c ri be d. n too re o n s r h n y Th e de s c ripti o s , , a c ide a b ly e n a c e d by th e a ddi ti o n

o f e x c e l l e n t ill u s tra tion s . On e o f th e n otl e a s t v a l u a bl e f e ature s of th e work i s th e ’ c om e n i ‘ m p d o us s u m m a ry o f the bibli ography o f th e s u bj e c t. Co bin e d with wi de a n d a c c u ra te kn owl e d e a n d l u c idit of e x re s si on Mr We d o o d i n ve s ts h i s g y , . g w riti n wi th a we a lth o f lite rar c h arm whi c m a ke s h is b o ok a l e a s ure to r w g y p e a d. Th e v ol u m e i s o n e th at c a n n o t fa il to b e o f th e u tm os t v a l ue to e v e ryo n e in te re s te d i n o r a n t s n s r l g m a t e r , wh e th e r a s e x e c u ta t o bu i de rs , a n d we h a v e c on ﬁde n c e a n d ” l e a s u re i n re c o m m e n d n h s v a l u a l rk to th e l f l s p i g t i b e wo e p ru s a o a l u c h .

M US ICA L OP INION .

If e l r re s e n ta ti v e f th e u n e r s Mr. W dg wood b e a ty ic a e p o yo g ch ool of wri te rs on m u s i c a l s u b e c ts we fe e l t a t th e a e of on de rou s s e u do - l e a rn i n i s a s s j , g p p g p i n g a n d i s g i vi n g pl a c e to a ty e of s c h ol arsh ip whic h n o t o n ly h a s th e v irtu e o f e xac tn e s s a n d a c c ura cy of de ta i b u t wh i c h al s o po s s e s s e s th e s a vi n g g ra c e o f to le ra ti on a n d

h u m o u r. o h Th e work m arks a re a l e p c i n th e l i te ra tu re of th e org a n . I t i s n o t s o m u h th t i n s re a t de a l th a t s n e m s c a t i t con a a g i w to o t of u s , b u t th a t it

i n c l u de s e v e r th i n th a i s o ld. For our own art we c a n n o t h e l fe e li n h y t p , p t a t h e ti tl t e of th e w r i s lt h e r n a u a . It I S a d ti n ar a n d c e rta i o a og e t i de q te ic o y, n y th e

m o s t e xh a s m h m r . Th rin i l u ti v e o n e i n e xi s te n c e , b ut it i s uc o e e c p e s of re e d v i n oi c g a re de a lt with (pro b a bl y f or th e ﬁrst tim e ) i n de ta il . e c om m e n d th e ‘ ’ b o ok to a ll l v n s um n ts a n d h e artil do we c o n o e rs o f th e ki n g of i tr e , y gra tul a te "

Mr. h i n n l We dg wood on th e su c c e s s whi ch h a s c rown e d is pa staki g ab o urs . TH M E US ICIAN .

An i y m sgiv i n g s th e re a de r m ay e xpe ri e n c e i n approac hi n g a tre ati se on Org an ' S to s W111s oo n i v e wa to ui te a t p g y q n oth e r se n sa ti on . A re a l ain o the m usi ci a n s l i bra r - . A we ll writte n lu m i n s f l n s y , ou a c cou n t o a l th e c hi e poi t o f the

or a n . Mr. g We dgwo o d h as h an dl e d hi s s om e wh a t diﬁ cu lt s ubj e ct with c on s ide r " a ble m a s te r a n d c on s i c u o us n l l y p i te ig e n c e .

Do S c o n d No tic b D C HA e e ( y R. S . W . P EARCE ) .

Th n am e W ‘ - e e dg wood h av i ng b e c om e fa m o u s i n c on n e c tio n with s top n om e n c la ture i t wa s ll , re a y o n l y n atu ra l i n the ordi n ary s e q u e n c e of thi n g s to e xpe c t thi s - we l l k n w - - o n n am e to a ppe a r o n th e title pa g e of the ﬁrs t S to Di c tion ary (worthy to be so c a ll d a s a u th or. Th e Di c ti on ar h as b e e n c are fu l a n n a n d i s th e ) y y p e d, e re s u lt of wi d ’ e re a di n . g Mr. We dg woo d s s ke tch of th e de v e l opm e n t of m o de rn l ) 1a a s o n to n e is e x c e e di n l g y g o o d. P e rh a ps n o write r h a s e x pl a i n e d a s cl e arly a s r. We dg wood th e a dv a n tag e to b e g a i n e d by l e ath e ri n g the lips of Di a pa s on l p pe s . Th e D i a h on e re c e i v e s a de qua te de s c ri tio n for th e ﬁrs t ti m e in a book ' p o f th i s ki n d ipe e d i , i e s the i r con s truc ti on a n d c are fu l tre a tm e n t a re v e r c a ita ll de s c ripe He re a a i n th e i ll u s tra ti v e wo - y p y , g , od c u ts a re e x c e e di n l oo d a n d h e l i n a l g y g , p a rg e m e a s u re to m a ke e v e rythi n g pl ai n a n d s tra i h t forw a rd. I c a n h o n e s tl de s c rib e th i s Di c tio n ar n o t o n l a s y y, y a book whi o i s i n e v e r s e n te n c e th orou h l u -to -da t t i s a ll t s a n s y g y p e ; i hi , d ye t i t i wri tte n with a re v e re n t re ard fo r e v e r thi n re a h n g y g g t wh i c h a s b e e produ c e d i n th e pa s t. A b ook s o c l arl wri tte n a n d i ll us tra te d s o im e rs o n a l a n d s o thorou hl re li a l e u ht e y , p , g y b , o g ’ to b e i n the h a n ds of e v e r o r a n i l y g s t a n d org a n b u i de r. THE O GA R N IS T A ND C HOIRMAS TER.

' Thi s l a te s t a ddi ti o n to th e Vi n c e n t Mus i c C o m pa n y s v a l u a bl e Te x t-books i s c e rta i n l n o t th e l e a s t n ote worthy a m o n g a s e ri e s whi c h i s re m a rka bl e for i ts ' a c c u m u ya tio n of s e c i a li z e d n wl Mr. e d o s i t m s p k o e dg e . W g w od D c i on ary u t h av e c os t h i m s e v e ra l e a rs of c o n ti n uou s re s e arc h a n d i n v e s ti a ti on a n d h e i s t y g . o b e c o n ra tu la te d u on b ri n i n h i s l a bo urs to s o s u c c e s s fu l a c n c l s n g g g o u i o . We re c o m m e n d a l l wp0 are i n te re s te d i n or a n m a tte rs e ith e r a s bui lde rs l a e rs g , , y , a h rs te c e or s tu de n ts to rocu re a c o o f thi s ork a n d to s tu d i t a s s i nousl . , , p py w , y y Th e ill b e a m l art f o m th x l l n t ll s tr t s y w p y re paid. Ap r e e c e e i u a i on (the m se lv e s of re a t v a l u e th e will ﬁn d e v e r s to wh e th e r E n li s h or f ore i n o s ole t m g ) y y g g , b e , o de rn , or e x e ri m e n ta l e sc ri be d a t l e n t n t i n th e du l u n i n te re s t s t l p , d g h o l . i n g e whi c h on e ’ m i h t e x e c t to ﬁn d i n a ti n r t h n r l l g p Dic o a y , b u wit c o s ide a b e ite rary c a rm a n d n o

l i ttl e s kill . Th e work i s e m i n e n tl re a da bl e a n d th e a u th or s e e m s e rfe c tl n u y , . p y ” a s s bi e d a n d i m pa rti al i n hi s j u dg m e n t.

“ WRI TI NG i n the Corre s o n de n c e Co um n s of Mus i ca l O i n i on p l p , M R. ALB ERT

M. e i IN G HAM L B. A. s aks of the b ook n th e foll owin e rm s : , , p g t A ork wh i c h e v e r o r a n l v e r MUS T h a v I t c o n ta i n s m o re i n form a ti on a bout w y g o e . th e e c u li ari ti e s o f v ari ou s s to s th a n a ll othe r works ut to e th e r b e s ide s i n p p p g , be g - - u p to da te .

- T E A D D . P ri n ce Ab b ot of Ei n i H RT. REV. THOM S BOS S ART, . , s e de ln , “ S wi tz . te n de re d th e h e art th a n ks of h is Co m m u n it f or th e hi hl a re ci a te d , y g y pp “ l n s n of hi s v e r e x c e ll . h e in si e d a pre e t t y e n t Dic ti on ary (T e org n , b ui lt un de r ' - h i re ti o n of th e a u th or s fr e n d th e l a te t. e v . P rin c e A s f t e d c i , R R bb ot, i re qu e n tly

re fe rre d to i n th e co urs e of the b ook) .

’ M Fac e u d Or ue s d E lis e of Ve rsa ille s F a nc e re fe rs to th e . J A B B EY, t r g g , , r , v D i c ti o n a ry a s a e ry i n te re s ti n g an d us e fu l wo rk .

S t H a c in the u e b e c Can ada wri e s We MM. A T F S o f . C AS VAN RERE , y , Q , , t t f I t s ha v e du ly re c e i v e d th e c o ie s o f yo ur i n te re s ti n g Di c i on ary o Org a n S to ps . i l re s ure f v a l u a bpe i n fo rm atio n a n d n o or a n b u ilde r or a n is t or s tu de n t a re a t a o , g , g , ” n s l a hi s work m u s t h a v e s sh o uld be wi th o u t it th e im m e e bours t c o t you . THE ETU DE

f s b e c t of or a n s s h a s Mr. We d oo d h a s m a de a n e xh au s ti v e s tu d o th e u to g w y j g p , h h s ri l s i e of th s c o ll e c te d a fun d o f i n form a tio n re l a ti v e to t e i to c a d e u bje c t, a n d h as

ro du c e d a ork th a t i s n o t o n l use fu b u t e s s e n ti a l to e v e r or a n i s t. h e w y l , y g re d h s s u c h s sh own m u ch l ite rar owe r a n n l a s th oro u ghly m a ste i bj e t. a y p d o ittl e a c h s to s e a ra te l a n d h a s e xhi bite d a m os t co m m e n l s kill i n tre ati n g e p p y, da b e ’ v uil r h e c re d h s c atho li c ity i n g i vi n g to e v e ry i n e n to r a n dorg an b de t it of i i n v e n tion s . W rk s o b y th e s a m e A u th o r.

A HISTORY OF THE ORGAN .

THE CONSTRUCTION OF THE ORGAN .

The b oo a fu am o n o h h n of E u n an d ks tre t lly, g st t er t i gs, the vo l tio H o of the O an o f M han a L v ub u a an E o- n u ist ry rg ; ec ic l, e er, T l r d lectr p e m a A on o f Ke e llade Ro o v M m b an an h li e rle ss tic cti s ; g , se elt, e r e d o t er s d Win d Chests ; of Fa n Blo win g ; o f the P o sitio n of the Organ ; o f the n n the an th ra t on le o al D o m of O , e i a of a n a n d Vo n T evel p e t rg Sc li g ici g , an d o a ou h o a n n the n a o n o f o n i n o r an i ther v ri s t e ries e t g e er ti T e g p pes . The b are u a d h o u ho u in u li t ooks, which ill str te t r g t, will b e val able a ke o

O an an B u d a n d E xa m in a o n a n d da . Th m o rg ists, Org il ers, ti C i tes e st u -to-da o n u o na m ho d m o d b En Am n p te c str cti l et s e pl ye y glish, erica , and x n Con tin en tal b uilders will b e e pla i ed.

S u b s c rib e rs m ay o b ta i n th e Two wo rks tog e th er at th e price of o s f r e i n th e U n it p t e ed Ki n g do m .

m a rks f ra n c s o r th e u i a l n Ab road, 1 dol la r, 4 , 5 , e q v e t, pos tag e e x tra . a a l a P y b e t de l i v e ry .

' ' ub m tzon orm s m a be ohta zn e d o the a u thor a n d su bscr b r S s p f y f , i e s n a m es will be ri n te d in the works p .

SOME CONTINENTAL ORGANS AN IEN AN D M DER C T O N .

e r n ted ow the Lon don M us ica l n R p i ﬂ Opi ion .

’ ' Co ntain s speciﬁcation s a n d a b rief m i zqu e o f som e o f the fam o u s o ld x at h n D Co n ti n en tal o rgan s as they e ist t e prese t day. escrib es also several - - a n Am o n o h o an a u p to date Con tin en tal o rg s . g st t er rg s p rticulars are giv en of ho at Haa m o o n Aix-la- ha F an kfu H d b t se rle , C l g e , C pelle, r rt, ei el erg ,

lm u a E n d n a b u An an d . U , St ttg rt, i sie el , Str ss rg , twerp, Seville This wo rk H k ’ ’ thus form s a valu able s u pplem en t to o p in s an d Rim bau lt s grea t treatise. ’ r re a r l z n [I n cou se of p p a o . ]

MUS IC A L WO R KS

CO MPOS ED OR EDITED BY

F. S . A. , SCOT

' KE NS IN GTO N O RGAN IST A N D CHO IRMASTE R o r ST . C O L O ME S , NORTH ,

' D IR ECTO R OF THE PL AINSON G AN D ME D IE VA L MUS IC S OCIETY S C HO IR , ETC ETC .

TE D UM LA M N I E U DA US . o . — An a dm ira b i 0r a n zst a n d Choi rm aster. le se tt n g . g

S IX S ETTINGS OF THE KYRIE E LE IS ON “ — V r a i Chn re h Tu n es . e y ple s ng .

T D M E EU LAU DAM US . N o . 2 (o n c a rd)

HYM N OF THA NKS G IVING (Words by Ge o rg e He rbe rt) ” — A ﬁ i x Ch u re h Un i on Ga z e tte . tting c l m a to a n y s e rv ic e o f pra ise .

’ P AL S T I o o d Frida i h E R NA S An the m for G y, w t La in a n d E n ish o ds t gl w r .

- Gu a rd a n . A ﬁne se tti ng v e ry suitab le fo r Le n te n us e . i

P AS TO A L IN F fo r O a n i n B o ok I of Ec c e s iae O r a n u m R E , rg , l g

T HE VIN ENT BE R E R TREET w. C MUS IC c o LTD . , 60, N S S ,

G O DW I M A coll e c tion o f 60 o ri in a h m n s an d un e s b v a rious O LL US IC . g l y t y wri e s o e he wi h 0 a e rn a iv e un e s fo r u se with H m ns An cie n t r , t g t r t 4 lt t t y , t a n d Mo de rn

‘ ’ We l l c o m i d a n d w l o u A or h a dditi on to the m usic ia p le e l g t p. w t y n s — M usi ca l N e ws . i r . l bra y.

TH A G L F D IS G IV N . An he m fo r H o l Com m u n i LO, E N E S OO E t y o n “ — A de v o tio n a s e tti n o f we kn o wn o ds . or a n i st a n d Choi r l g ll w r g m a ster.

B EN E DIC ITE OM NIA P A han O ER . C t se ttin g .

M AG N IFICAT AND N UN D IM I han C TTIS . C t se tting

OFFIC E FOR THE DEP A TED a s a o we d b the a e Bisho o f Lon do n R , ll y l t p 2 d. A b e a u tifu an d di n iﬁe d o fﬁ — r l g ce Chu ch Ti m e s .

HYM N FOR THE COMMENC EM ENT OF A S C HOOL TERM . Wo rds by Ca n o n Skrin e

WN LAN H M T . C . B R W S O G A CO . L D N E B N D , O STREET, W. MUSICA W — L ORKS BY FRANCIS BURGESS conti n ued.

TH E S TORY OF TH C O . Words b h E R S S y t e Re v . E . Mun ro ” - Sim e an d v e r m usic ian l . r pl y y Mn s ca l M ws.

M IS E RERE MEI D US . Psal m 1 for Le n u , E 5 , te n se ”— Ans e rs its u o se adm i rabl . ns n w p rp y M i ca l Opi i on . S E RVICE FO CHILD N’ S F TI A R RE ES V LS . Words se le c te d by the

Re v . and Hon . J . G. Adde rle y Wor wid ado t — r h of e ion . Chn t y p ch Ti m es .

Do . (Organ c o py) THE S TORY OF TH PAS ION F U E S O O R LORD. Words by the Re v .

a n d Ho n . Adde l e J G. r y — One of the b e s we ha v e se e n . hn rch t C Ti m es. IIYMNS FOR THE USE OF CHILDREN AT HOLY C—OMMUNION Wil m e e a m f l wa n . l t uc h e t t Goodwi ll .

Do . (Org an c o py) CATEC HIS M M US IC LEAFLETS

No . I . PROCESSI ONAL H MN FOR FESTIV L Y A S . 2 Two H MN S To T H E HO L P I RIT . Y Y S .

THE CRB E D o r S . ATHANAS I US i n v 3. , e rse .

A. WBRAY 8: CO LTD . GREAT TLE TREET R. MO , 34, CAS S , F RD IR W OX O C C US , .

VES P ERS OF THE B LES S ED S AC RAM ENT

Do . (Org an Co py)

W. KNOTT, 26, BROOK E ST REET, HOLBORN , E. C .

O n ca rd POS T COMMUNION. — M us l v . i Effe c tiv e an d s e r ic e abl e ica Op n i on .

NOVELLO CO LTD . , r, B ERN ERS ST REET, W.

’ m le e Man ua fo r Cl e r c o n ain in the P rie s s a a t A LTAR MUS IC . A co p t l gy, t g t p rt

a ru s fo r inﬁe c tin Colle c s E is les and Gos e l s . H oly Co m m u nion , nd le g t , p t p a o r bo un d in Ve l u m Che p edition , l 5/ ’ “ ri n e ar We c on atu a e th e A m ag niﬁce nt spe cim e n of the p t r s t. gr l t e dito r and the publ—ishe rs u pon the c om pre he nsiv e and use ful wo rk which /mrch Un i on the y hav e produce d. C “ ” - ' h a Chu rch Ti m es. The arrang e m e n ts are as g oo d a s t e y c n b e .

ith il us ra io n s rin e d f om oodb ocks e ac h 6d. S IX C HRIS TMAS CAROLS , w l t t p t r w l ,

No . I . D ANS C ETTE ETABLE .

2. IN DULCI JUBI LO.

TH E EVEN G RE AT oYs O F MAR . 3. S J Y

OME TUN E O UR H EART . 4. C Y ‘ A WITH LOYAI. H EA RTS AND TRUE. 5. AW Y, MOST HI GH EST ART THOU L ING I N A MANGE R ? 6 . WHY, , Y ” Or an is t an d Choi rm a ste r. Got up in luxurio us styl e . g

Chu rch Ti me s. Excellen t harm on iza tion s.

MORIN LTD . ALEXAND ER G, , R E TREET H N VER S UARE W TH E DE LA MORE PRESS . 32 , GEO G S , A O Q , . — MUSICAL WORKS BY FRANCIS BURGESS con ti n ued.

A i f f N IGHTS AT THE OP E RA. se r e s o ha n db oo ks de scribing th e story o th O a an d its o duc i o n i h an a na l sis o f th m ac h ne t e pe r pr t , w t y e usic e ,

’ “ No . I . GOU NOD S FAUST .

’ “ z . BIz ET S C ARMEN .

' : MOZART “ 3 S D ON GIOVANN I . ’ ” VE RD I “ 4 . S I L TROVATO RE.

’ “ ” VE RD I S I 5. A DA. ' " ” 6 Go u N OD s R ME . O O AND JULIET .

’ e ful han db ooks in e nde d a s a ide s m e m oi res fo r O ra e s Us t pe g o r . ' t r r r Li e a y Wo ld. “ k The ask hou h ne c e ssa i s e ch is we l don . Mr ur t t g r ly t y, l e . B g e ss s upplie s j ust the a m o un t o f i nfo rm a ti on tha t will e n a ble b usy pe rso n s to e nj oy ”— ws Mn si ca l N e . the Ope ras n o ticed.

Mr. B u e ss ske c he s li h an d e a san l th e re s iv o ie s rg t g tly pl t y pec t e st r . Mu si ca l Opi n i on . The y supply the re quisite k n o wle dg e fo r th e a v e rag e O pe ra -g oe r in orde r ro m s e n din a ro ﬁ v —M n sica t r m a av e d f tl e ss e e n in . l that he y b e s p g p g Wo d.

ALE AND ER MO RI N LTD X G , DE LA MORE PRESS 2 GEO RGE STREET HAN VER AR T HE , 3 , , O SQ U E ,

D fo r Me z z o So ra n o o r Te n o A S ONG OF EVENTI E, p r n e t “ " f wo rd —M u si l r n e in o so m e dain . c A cha m i g s tt g ty s a Opi n ion .

. W T D W B ILLIAMS . L . , 20, NASSAU STREET, .

P A I W R L N S O N G O K S .

ORGAN ACCOMPAN IMENTS TO THE P S A LM TONES

O RGAN ACCOMPANIMENTS TO THE LITANY AND S UFFRAGES

C hu ch m usicia n s i hail he se i h e a s u r — u r w ll t w t pl e . G a rdi an .

Afte r a ca e fu e xa m in a ion o f the c o n e n s we are a b e to sa ha e ve r l t — t t , l y t t ry hin i v e n he e in is m o s re ia b e . Or a n i st a nd Cho t g g t r t l l g irm aster.

THE P LAINSONG AN D MED IE VAL MUS IC I E SOC TY,

R S S ELL ARE W. 44, U S QU , C .

FO FOU VOIC S Ada e d fr m h R R E . pt o t e Sacre d S ong s En ish tran sl a io ns b Ed ard O xe n fo d gl t y w r e ac h, ne t “ ” ES O U R O N E J US, CON S OLAT ION . “ M R A CO E FO TH , LL YE W HO K N E W D ESPAIR. “ ” U P , U P MY HE ART . “ E COME, W LCOME D EATH . “ " COME, CH RIST IAN S , O N TH IS DAY. “ ” THOU GO EST No w.

IEAVLEY FERGUS SON 2 . G REAT MARLBO ROUGH STREET . , W.

“ ” The J O H N HO L T “ PIﬂNEER

PEDAL REED ORGAN .

B u i lt to . C . O. u l e s a n d to r a n i s s o n c if i c a tio ns . R R , O g t w S pe

F O R

PERFECT

ORGAN PRACTICE

AT HOME,

AN D FOR U S E I N

SMALL CHURCHES

Se nd forIll ustrate d Price Li st.

J OHN HOLT Pi n W r N RMINGHAM. , o e e r o k s , HARBOR E, BI

Es a b li sh e d 18 7 4 . A i n d r a E t p p o te O g n x p e rt .

F. MY L RE A, E F D R AN W C HES T R IEL O G O RKS ,

HAR R IN GAY , N .

Foun de r o f the Fi m o f MVL RE A CA RTWR IG HT r ,

An d Bui de r o f m an o f the Fi n e s O an s in E n a n d l y t rg gl .

T Estimate s, e stimonial s , and Re ports s ub mitte d Fre e of Charge .

Hydraul ic and El e ctric Bl owing a Spe cial ity.

Organs Tune d by Contract or Cas ually.

O rg an s Buil t o r Re c o n structe d o n m y m o st Im pro v e d i o r Tu b u ar Pn e um a ic S s e m s El e c tr c l t y t , with Pa te nt i a io n In te rcha ng e ab l e Co m b n t Pisto ns.

T h e T r a d e s u p p l i e d w i t h

Com l e te O ans Be ll ow Pi e Pne uma i c Con ol e Pe dal s Moto Che p rg , s , p s , t s s , , r sts , Ke b oa d Tou h Boxe Inte m e di ate Cou le Bl ock y r s , c s , r s , p rs , s , - i i n Ma hin Sound Boa d . Vo c g c e s , r s

Y O I C I N G , T U N I N G , C L E A N I N G .

WELL ND N M L REBUILDING DONE A ECO O ICAL . BEST WORK ONL EX E Y Y CUTED . T H E

L I M I E T D ,

ORGAN =B LOW ING

are are S P EC IALIS TS ,

H AVE A

Fr n n U - - i e e Advice De partm e t, a d p to date Publ cations n - tri it il r o Organ blowing by Ele c c y, Gas , O , Pe t ol , i r and Hydraulic Powe r. De script ve B ochure s fre e .

’ In ta a io n r i i S P a u a h ra s ll t s a e n o pe rat o n a t t. l s C t e d l , " C a n te rb u r Wo rc e s te r No rw c h a n d Lla n daﬂ C a the dra l s y, , i , a n d s e v e ra l h u n dre ds o f C h u rc h e s a t h o m e a n d a b ro a d.

ALS O AT

THE ROYA L COLLEGE OF ORGAN IS TS , LONDON .

THE ROYAL ACADEMY OF M US IC , LONDON .

HYDRAULIC, KINETIC WORKS ,

White Horse Stre e t R OS E MA R Y LA N E 62, , ,

n do n E . L I N C OL N . S te p n e y , L o ,

rr s o n de n ts U . S . A . C o e p

6oth Stre et and Ba timore Ave nue Phi ade hia. Kine tic Engine e ring Cc ., , l , l lp ' ‘ A n zs es t Ce /cz re A Vi ew.

A FEW O P INIO NS C O NC ERNING THE WO RK O F

l r O r g a n B u i d e ,

N O T T I N G H A M .

A Cat a fte r iv in re c itals o n a s m all two hedral Organist, g g m a n u al o r a n s a id g , I have played Cathedral o rga n s with 40 o r so stops which were

’ n ot a jot m ore e ﬁe c ti v e I wish we had such diapason s ” n o n our o rga .

Another Cathedral Organist

“ Ab solu tely the ﬁ n est o rg an I ev er played is perfect and the to n e is tru ly wo n derfu l ” revelation to m e .

lli the S e c re tar o f the la r e s t o r an b u ildin R. P. E ot, y g g g “ wo rld in a n a rtic le o n An e s ta blishm e n t in th e , ’ o rg a n b u ilde r s v is it to 2 7 C athe dra l Org a n s in " Gre a t Britain Cﬁu re/z E con om ist N e w York , ( , ,

Fe b. wro te :

o m on o f No in ha m in m o n o n b bu d in C pt , tt g , is y pi i the est il er ” - n f v l h En a n t h h th o o b e to na or m an a . gl d o day, w et er e p i t iew ec ic l

l M the m in n r n l nh me us . Bac . Oxon. e e t O a is W. Wo ste o , , , g t a n d C o m po s e r “ The b a a o n d fu o o n m a n Ti i is w er l st p, p ssessi g ssive to e witho u t ‘ ’ n oo as so m an o fu u ar h b ei g h ty, y p wer l ﬂ tes e t e im ita tiv e sto ps a pproach m ore n ea rly to the ton e o f their orchestral n am e

a an an I av h a d Mr. n s kes th y h e ever e r , Com pto s ﬁne e ar an d

kn o wledge of o rchestral col ou rin g en abling him to achieve the Th h appiest results thro ugho u t th e vo icin g . e o rgan at ” a f b far th e m o ff v in u m n a I n R d ord is y st e ecti e str e t th t k o w.

E S T A B L I S H E D 1 8 4 2 .

n O rg a Banners , A IRE T ET AN S RE O RG WO RKS , CRO SSHILLS, KEIGHLEY, YORKSHIRE.

O a n b u or b u h o u r La Im ubu a P n u m a rg s ilt, re ilt wit test proved T l r e tic A o n to b o h o an d Man u a and E A o n an d ou r cti t St ps ls, lectric cti , Im ov d A pr e Sticker ction .

TUN INGS YEARLY O R CAS UALLY.

n in E g e s of All De scriptions fitte d up for blowing existing Organs . HIGH CLASS ORGAN PEDAL ATTACHMENT TO PIANOFORTES

A t. M o d e r a t e P r i c e s .

H av in o n f h Wo i n D d u h g e o t e Largest rks the istrict, ﬁtte p wit the B Ma hi n n o o n to m h a n b u d i n est c ery, we are i a p siti co pete wit y il er h t e trade .

Th e B e s t Workm a n s h ip a n d Ma te rial Gua ra n te e d.

Th re e P riz e Me da l s .

L O N D O N ,

18 6 2 .

B IDDE S ORGA N U R ,

anette ii i i i ross

( OX FORD S TREET END) ,

L ON D O N .

E s ta b l i s h e d 17 9 4 . B R A M L E Y O R G A N W O R K S ,

D E E D S .

ki n of The fineste quippe dfactory in Englandde vote de xclusively to the ma g

ND HAMBER ORGANS. CHURCH, CONCERT, A C

’ B i n n s P a te n t I n te rch a n g e a b le

Co m b i n a ti o n Actio n .

The re is n o thin like it n o thin to e u a l it. E v e r g , g q y po ss ible v arie ty o f s to p c o m b in a tio n m a y b e ﬁx e d o n a ny c o m bin a tio n e dal o r is to n in a se cond whilst la in p p , , p y g,

ﬁrm c a n o ffe r this . o r be fo re ha n d. N o o the r

’ Bi n n s P a te n t Tu b u la r

P n e u m a tic Actio n .

A s l n d r titi n Alwa s in o o d b o u te ly pe rfe ct to u c h a e pe o . y g d r A im l a n d a dm irabl s u ite d fo r o r e lwa s r liab le . S e . y e p y l al Clim a te s .

’ B i n n s P a te n t P e rcu s s io n s .

i m b in n l S i e n s i . N 0 N o n o sy c o a tio pe dals . t top ac t on

half drawn s tops .

i ’ B n n s S pe cia liti e s i n To n e .

S le n did e n s e m ble u alitie s fo r c o n re ati n al s in in p q g g o g g . U n riv a lle d s trin to n e s ﬂu te to n e s an d re e ds for s olo an d g , o rc he s tra] e ff c ts a n d c o n c e rt e rfo rm e p an c e .

e n d f o r u e I l l t S p i c t u re s q l y u s ra te d B o o k l e ts , I n r a n P o s F e t e e s ti n g d t r e .

ROBERT SPURDEN RUTT

QBrgan Butlher, — Fa c to r K I N G E D W A R D R O A D L E Y T O N . y — , Tun i n g B ran c h We s t Cl i ff .

Te l e r m s : B u n . g a tt , Layto

IN VENTOR AND PA TENTEE on THE " " P A R T S I N G I N G S O U N D B OA R D .

Org ans u pon the m ost m o de rn pri nciple s b u ilt to any ham n fo spe ci ﬁcatio n . C be r Org ans and Org a s r difﬁcul t osi tions a s e c ialit A tis tic V to sui p p y. r oicing t Ch urch,

Ch m b e or C on ce r Roo m . a r, t O nly hig he s t c lass workm anship an d m ate ri al e m ploye d

in b o th sm all an d larg e org an s . Write for Ful ly Ill ustrate d Catalogue s and Te sti ni l t r r al l and i ns t m ork a t m o a s, pos f ee . o c pe c y w Showroom or Factori e s.

x le n T e s tim onials f o m m a n we ll kn o wn au th ori ti e s E ce l t r y ,

Hi t M.A . ha W Pe a c e F Dr. n on n din D r C s . . . i clu g r , ;

Go ste lo w Es . G . Dorri n o n Fre d. , q , g t

. M a m e n in ham Es F .R . C O A. R. A. . s I We d Cun g , q , J . g

F. . woo d. Esq , S . A. S co t , B ackson . Es , J q I I I I I I I I ’ R an d m a n C1e r O r is an d F. . y g y, gan m, Professio na l r h m w m e n fo w o e have built Organs . TH E O L D FI R M.

A L S O AT

C A R D I F F a n d

TUBULAR PNEUMATIC ACTIONS,

P e r f e c t i n A tt a c k a n d R e p e t i ti o n . _

ARTISTIC AND REFINED VOIGING.

S pe cifica tio n s a n d Es tim a te s

F R E E O N A P P L IC A TIO N .

- “ HUDDERSFIELD. Te l e g raphic Addre ss CONACHER, E S TA B LI S H E D 18 8 6 .

n r TUNINGS , &c ., by Ye arly Co t act or Othe rwise .

E T PHEN AYLOR & ON,

O R G A N B U I L D E R S ,

VO I C E R S A N D T U N E R S ,

Ne l s o n S tre e t , Lo n do n Roa d,

L E IC E S T E R.

B u ilde rs o f n e a rly a ll the m o s t Im po rta n t O rg a n s in Le ic e s te r a n d n e i hb o u rho o d in c lu din two with fo u r g , g m a n u l a s .

P rf T u l r P n u m i A i T h e m o s t e e c t u b a e a t c c t o n , i n l e n ti re l y s u p e rs e d g E e c tri c .

G h e a m b rid e O r a n M o rk s d g g ,

E re c t Org a n s o n th e m o s t M o de rn P ri n c iple s i n T u b u la r P n e u m a tic a n d E l e c tri c

T ra n s m i s s i o n .

RECONSTRUCTIONS AND TUNINGS IN ANY DISTRICT.

im ni l th Hi h r r r T Te s t o a s of e g e s tO de f o one and Touch.

I n s p e c t i o n a n d E n q u i r i e s I n v i t e d .

C AMB R IDG E , E NG L AN D .

E s t a b l i s h e d l 8 8 8

Hi i ne um tic gh Class Church and Chamb e r Organs with Me chan cal , P a ,

or Ele ctric Actions . Mode rate Price s .

Org a n B u ilde r.

O R G AN FA T O R Y : C 16 , B URMA ROAD , 1 LONDON ROAD N N 5, , LO DO N , .

WN N . d n c e . HAC KN EY DO S , E. ( Fo r C o rre s p o n e )

Reconstruct/ans Re novations Re airs . , , p

PERIODICAL TUNINGS th rou g h out ENGLAND an d SCOTLAND

P R O P O S E D O R G A N S I T E S I N S P E C T E D ,

AN D

S n a n d E m P r r d S u i ta b l e p e c i f i c a ti o s s ti a te s e p a e .

ES TAB LIS HE D 18 67 .

MIDLAND CO NTIES R A MA U O G N NUFACTORY, 8 4 L O N D O N R O A D , ,

L E I C E S T E R .

’ r an iButlmzrs un n i O g , T ers a t 250mm .

v e P ro m t Atte n t o n to a ll En u r e s a n d r u Gi p i q i i , p o d c e a tho ro ug hly Ho n e s t a n d Artis ti c In s tru m e n t R a o n at a e s a b l e P ric e .

R AN BU LT E S PECIFICATIONS OF O G S I , T STI MONIALS, AND REFERENCES

SENT ON APPLICATION. T e l e r “ g a p h i c Ad d re nn l O R O TO H E T . LO N DO N . THEORETCALWRK MU TEXTB OK I O S81 SIC O S.

NE T . ELEMENTA Y - R EAR TRAINING Fre d. G . S h i m : 2 0

RUDIMENTS OF MUS ICA KN WLED C a L O GE . W. P e rc e 1 0

MANUAL OF S IGHT S INGIN . PA T 1 e v G R . P ap r C o e r .

Cl o th l s . 6d. , J . S a wye r

MANUAL OF S IGHT S INGIN . PA T II. P e v e l s G R ap r C o r . C o h l s S a w e r l t . , J . y G ADED SCH N R OOL SO G BOOK. D e s ig n e d for u se with Th e Man u a l o f i h - in i te n a e h om l e e S g t S g ng . p rts . ac 2d. C p t

i n P a e r C o v e 1s . 4d. in C lo th 23 . S a e r p r . , , J . wy

CHORAL INSTRUCTOR FOR TREBLE VOICES C . Vi n c e n t 0 8 NEW-CENTURY PIANOFORTE METHOD 2 0

HARMONY, DIATONIC AND CHROMATIC 3 0 TONALITY AND OOTS A i s h 1 R . J . Gre e n 6 ' STUDENTS UNTE P INT C W P a rc 2 O CO R O . . e e ’ COMPOSERS COUNTERPOINT. . 2 0

FORM IN MUSIC " Hu m f rey An g e r 3 O

SCORING FOR AN ORCHESTRA C . Vi n c e n t 1 6

MUSICAL MEMORYAND ITS CULTIVATION F re d. G . S h i m ; 2 6

ON ORGAN PLAYING A . P a g e 2 O

HINTS TO SINGERS R . T . Wh i te 0 3 N Ma n e l sdo r 1 6 3 00 EXAMINATION QUESTIO S A . g ff s SCORE READING IN THE VARIOUS CLEFFS , 48 Fug u e ,

ls . 8 . B a c k 2 Vo . , e ach 4s . J

t n u n C . B a ke r 1 6 HOW WE HEAR (a Tre a ise o So d) F . ’ N rc W. P e a e 0 ON MENDELSSOHN S ORGAN S O ATAS C . 2 - SCALES , ARPEGGIOS AND EAR TESTS , for al l Local E x am i

n k 1 B o o k 11 I s . 6d. B ook I II n a tio s . B oo . 8d , .

25. 6d. . F . H . H a n ki n s I d l 0 SCALES ANDARPEGG OS S . Mi g ey 3 THE ART OF VIOLIN ROWING P a u l S toe v i n g 3 0 CHOIR TRAINING BAS ED ON VOICE PRODUCTION a d i c h a rds on 2 6 A . M e l e y R N THE PSALMS, THEIR STRUCTURE AND MUSICAL RE a l e h a rds on 3 0 DERING A . M de y R i c

A METHOD OF TEACHING HARMONY, b ase d u po n E ar

i PA T I. D ia on ic H arm o n 28 . 6d. C o h train n g . R t y . . l t

Harm on 8 . 6d. s . PA T II. Ch o m atic 2 B oard , 35 R r y, .

s 3 5 . F . G. S h i n n Cl o th Board . I H Mid l 0 6 DAILY VOCAL EXERC SES . g ey VIOLIN SCALES AND ARPEGGIOS P a tri c k D e l a n ey 2 6 NEWCENTURY ORGAN METHOD (Twe n ty-fo u r Org an Le ss on s) He rbe rt B o ttm g 3 0

WHAT MUSIC IS " D u n c a n H u m e 1 6 é ra t o 7 I HY . D B rown s . S . S t t n 6 BRITISHMUS ICALBOGRAP J . M ' MELODIES AND HOWTO HARMONIZE THE E d. D u n c a n 3 0 H u m re An e r e HARMONY (2 PARTS) J . f y g ach 3 0